PN 2053 , 
B25 j 

J 



, THE FUNDAMENTAL 
PRINCIPLES OP 
BALA 'BAN & KAH 




Scanned from the collections of 
The Library of Congress 




Packard Campus 
for Audio Visual Conservation 
www.loc.gov/avconservation 

Motion Picture and Television Reading Room 
www.loc.gov/rr/mopic 

Recorded Sound Reference Center 
www.loc.gov/rr/record 



I 



^Fundamental "Principles 




Balatan h[ Kjatz 
The atre M anagement 



ir 7 -\r 0C52 
volume J\o 



COPYRIGHT 1926 BY 
BALABAN K AT Z CORPORATION 
CHICAGO - ILLINOIS 




J 




HE instructions and in' 



formation contained in 
this manual are for the ex' 
elusive use of our managerial 
staff. Under no circum- 
stances is this manual to be 
loaned or permitted to leave 
your theatre, nor copies made 
of any portion of it for the 
use of any other organization. 
Balaban &Katz Corp. 




© C1A956614 



NOV 1576 



foreword 



T^fiE enthusiasm with which the members of our 
^^organization received our recent manual, "Training 
Theatre Employees for Balaban 6? Katz. Service has 
been most encouraging. We hope that this present volume 
will fill a long-felt want and meet an equally hearty 
response from our theatre managers. 

In compiling the materials for this book, an attempt 
has been made to furnish suggestions for the complete 
operation of a theatre from the manager's viewpoint. The 
readers may feel that the arrangement of the subjects 
treated is not logical. However, we believe that the 
present arrangement is the most effective approach to the 
many and complex situations with which the theatre 
manager is constantly confronted. 

We believe that, by mastering the details and princi- 
ples set forth in this manual, the manager in his daily 
problems will continually build up a high regard for 
detailed perfection of operation and uniformity of service. 

Experienced managers will be pleased to refresh their 
minds to the possibilities which their present theatres 
offer for improvement, and those more recently entering 
this field will be helpfully aided in mastering their new 
duties. All may be inspired to the further study of the 
subject to the extent that more effective methods will be 
developed. If these purposes are realized in a small degree, 
we will be gratified. 

Many of the ideas and principles presented in this 
volume have evolved through years of experience, and 
have proven sound practice. This volume is not a techni- 
cal treatise but a practical manual on theatre operation. 

Barney Balaban 
Sam Katz 



THE FUNDAMENTAL PRINCIPLES OF 



Table of Qontents 

To the Manager I 

The Manager and Management 3 

Section Titles: 

1. Selection of the Personnel: - 

By the Manager 14 

By the Manager with the Approval of the Supervisor of Theatre 

Management 14 

By the Executive Staff 14 

2. General Requirements for Employees 15 

3. Specific Requirements for Employees: 

Footmen * 17 

Sidewalk or Outside Doormen . . 18 

Cashiers 18 

Doormen and Ticket Takers 18 

Lobby Men 19 

Ushers 19 

Service Boys and Messengers 20 

Maids 20 

Porters 20 

4. Conduct of Employees : 

Ushers . . * . . . 22 

Footmen, Doormen and Ticket Takers 23 

Cashiers 24 

Employees from Labor Organisations 25 

Kinobooth Operators 25 

Janitor Service 26 

Policemen 26 

Firemen 27 

Stage Production Personnel 28 

5. Control of Employees: 

Progress of Employees 29 

Discharging of Employees 29 

Employees Meetings 30 

Gifts from Employees 32 

Accidents to Employees 32 

Emergencies 33 

Fire Drills 33 

Disturbances 35 

Duties of Ushers in Emergencies 35 

Points to be Remembered in Emergencies ........ 36 



B A L A B AN fe? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Table of Qontents 

Section Titles: 

6. Operating Methods: 

Accidents to Patrons 39 

Checking Service 40 

Lost and Found 40 

Correspondence with the Public 43 

Typical Letters 44 

Refund Procedure and Policies 51 

Movement of Patrons in the Theatre 53 

Spill Cards 54 

Schedule for Pick Up of Films and Music 55 

Petty Cash 55 

Movie Censors 55 

Critics 56 

Budgetary Control 57 

Accountability For, Care and Safeguarding of Funds .... 59 

7. Your Theatre with Relation to State and Municipal Authorities 63 

8. The Organisation Builder 65 

9. Programs and Shows : 

Entertainment 68 

Films 68 

Music 70 

Improvising 72 

Stage Productions 73 

Complete Program 75 

10. Projection : 

Eye Strain 77 

Poor Definition 78 

Poor Illumination 78 

Too Large a Picture 78 

Glare Spots 78 

Flicker 79 

Scratched or Damaged Film 79 

Improper Patching 79 

Distortion 80 

Over'Speeding 80 

Keystone 81 

Dark Picture 81 

Direct or Reflected Light 81 

"Jumpy Pictures" 81 

Streaked Pictures 82 

Concluding 82 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Table of (Contents 

Section Titles: 

11. Advertising, Publicity and Exploitation: 

Advance Publicity 85 

Newspaper Advertising 86 

Magazine Advertising 86 

Bill Boards, Street Car Cards, Posters 87 

Sidewalk and Lobby Displays 88 

Current Publicity 88 

12. Physical Equipment : 

The Auditoriums 92 

Back Stage 95 

Offices and Extra Rooms 96 

Basement 97 

Lobbies, Foyers and Corridors 98 

Exterior Equipment 99 

Fire Escapes . 100 

Sidewalks 100 

Roofs 101 

House Tank 101 

Ventilating Equipment . • 101 

Kinobooth 103 

Employees Equipment and Service Rooms 104 

Uniforms 105 

Expendable Supplies 108 

13. Typical Weekly Schedule 111 

14. Standard Forms and Their Uses: 

Time and Payroll Forms 113 

Employees Record Forms 114 

Cash and Cash Disbursement Forms 114 

Requisition and Property Forms 115 

Pass Forms .115 

Operating Forms 116 

Free Admission Record 117 



BALABAN 6? KATZ THEATRE MANAGEMENT 



< 



THE FUNDAMENTAL PRINCIPLES OF 



T5o the ^Manager 



UR ideal is to provide service and comfort to our patrons to 



a degree in excess of that which they have a right to expect. 
If we are to attain this ideal, we must be prepared to anticipate 
their needs and to contribute to their welfare in advance of their 
desires. 

In an effort to realise this objective, you will be carefully 
trained, your work skillfully planned, and our organisation so 
arranged that we may expect you to be of greatest service to our 
patrons, to our organisation, and to yourself. 

One of the most important duties and responsibilities is 
delegated to you as the manager of one of our various theatres. You, 
together with your organisation, interpret and personify our 
ideals and personalise our standards of service. Thus, each person 
who has the privilege of enjoying our entertainment and service 
should receive a lasting impression of the excellence of the service 
and the spirit in which it is rendered. 

We must be ever mindful of the cardinal fact that our patrons 
are seeking pleasant entertainment and diversion. For the time being, 
they have put aside their own home or business cares to live for a 
few hours in a world of music, fiction, and beauty. During this 
period, there is a feeling of comradeship and equality among our 
guests. They are actuated by a common purpose, to seek amusement 
and pleasure. Our sole purpose is to make their visit an enjoyable 
one which will leave a pleasant memory and a desire for repetition. 

You and the members of your immediate organisation are 
the contact men and carry the entire weight of responsibility for 
service to our patrons. To them you are the Balaban 6? Kats organi- 
sation. Your service and the spirit in which it is given is right- 
fully interpreted as the service and spirit of the whole organisation. 




[i] 



BALABAN & KATS THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Although this service is largely in the hands of your im- 
mediate organisation, the greatest responsibility rests with you. 
You, as manager, are the example for all in your charge to follow. 
Your organisation and its service will never reach a higher standard 
than that which you yourself embody and exemplify. 

WITH THESE THOUGHTS IN MIND, AND WITH THE 
IDEA OF SUPPLEMENTING YOUR EXPERIENCE WITH 
SPECIFIC PRINCIPLES OF MANAGEMENT, WE HAVE 
DWELT UPON VARIOUS GROUPS OF EMPLOYEES AND 
SITUATIONS WHICH ARISE IN THE MANAGEMENT 
OF ANY THEATRE, AND PRESENT TO YOU OUR 
METHODS OF HANDLING THESE VARIOUS PROBLEMS 
WHICH, IF FOLLOWED CLOSELY, WILL BE OF GREAT 
HELP TO YOU IN IMPRESSING THE PUBLIC WITH OUR 
ENTIRE ORGANIZATION. 




M 

BALABAN &? KATZ THEATRE MANAGEMENT. 



THE FUNDAMENTAL PRINCIPLES OF 



The VWanager and VYCanagement 



ITH full appreciation of the fact that any organisation 



V V exhibits and demonstrates the characteristics and ability of 
the manager, we will discuss briefly the manager with the idea of 
pointing out our conception of the ideal type. You have been 
selected because you have measured up to our ideal of a manager to 
a sufficient degree to warrant our confidence in the belief that 
through constant effort and intelligent application you may per- 
fect yourself in other qualities outlined here which you may not 
now possess, at least to the degree we feel you should. 

Like all those connected with a theatre organisation, per- 
sonal appearance is very important. It does not require physical 
beauty, but rather a clean, manly, and wholesome presence. 
Physical sise has little weight in the matter of selection though 
the bearing and carriage of the individual is highly important. 
Character, ability, and the prospect for future development are 
the other important items for careful consideration. 

With reference to character we want men on our staff who 
are self-reliant, self-controlled, ambitious, and guided by a keen 
sense of justice in all their transactions. We expect our managers 
at all times to be guided and actuated in every contact by the 
ideals of true, red-blooded men. We expect them to have such 
qualities as loyalty, integrity, patriotism, and tenacity in adhering 
to our ideals and standards of organisation. In short, we expect 
that all those connected with the management of our theatres 
be right at heart. This briefly explains to a degree our qualifi- 
cation of good character. 

Ability is primarily dependent upon training, past expe- 
rience, and study. By training we have reference to an individual's 
education, home environment, and the circumstances of his earlier 




hi 



BALABAN fe? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



life. We desire managers who have had the benefit of a college 
education, not just because they are the possessors of a diploma, 
but we feel that their years spent at schools and colleges make them 
much better prospects for future development in our kind of 
business. 

Their past experience may have been gained in lines of en- 
deavor other than the theatre business. We recognise the fact 
that business ability, business principles and organisation are of 
basic importance to any kind of business. With that in view we do 
not demand that our managers come to us with years of experience 
in the theatre business, but we do desire men of sufficient adapt- 
ability to come into our business and apply the lessons which they 
have learned to our particular problems. 

In this day of highly competitive business an executive never 
completes his education. The man in the business world who 
feels that it is not necessary for him to continue to study and 
read carefully trade papers and articles on business problems, is 
a man who very soon becomes out of date. Many men who hold high 
positions in this industry have been self-educated through careful 
reading and studying along lines which will help them in this 
business. A student of business today is generally a man of keen 
and alert mentality. This type of man is very essential in our 
business. 

Many managers seem to feel that they have been elevated 
above the detail of operation, and in their contact with others 
they conduct themselves with an aloofness which is not only ob- 
jectionable, but many times deters persons from making very 
valuable suggestions to them. In any managerial position it is highly 
essential for the manager to have the detailed knowledge of how 
each of the departments under him functions, at least he should 
have sufficient detail in order to supervise carefully and direct 
those departments. 

[4] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



We have not prescribed any super qualifications for our 
standard of A-i theatre manager. Every one of the qualities which 
we have pointed out is one which can be acquired through diligent 
effort and application on the part of our present managers as well 
as those who in the future will come into this business. Given 
these executive qualities, we will discuss, generally, theatre manage- 
ment. 

In the preparation of a performance for your theatre you 
should endeavor to be present so far as it is physically possible 
at all rehearsals or pre-viewing of films in order that you may be 
able to suggest intelligently the proper arrangement and routine 
for that performance. As the time approaches for the opening of 
your theatre it is necessary for the manager to be in his house at 
least one hour before the time scheduled for its opening. 

The first duty upon arriving at your theatre should be to 
check the ventilation, as it requires from thirty to forty-five minutes 
in order to make any appreciable change in the air condition. 
When this has been properly adjusted, immediately start on your 
daily inspection of that part of your theatre accessible to the 
general public, inspecting first such rooms as ladies' parlors and 
emergency rooms which normally cannot be entered during the 
hours that the house is in operation. Carefully written notes 
should be made of any omissions or neglect on the part of the 
night cleaning force, so that the chief janitor may be given de- 
tailed instruction in the proper care of the house and its equip- 
ment. 

All employees whom you expect to have on duty at the 
opening of your doors should be in the building thirty minutes 
prior to the opening of the box offices. Therefore, you must inspect 
and check off in order to see that the proper staff is on duty, 
properly uniformed for the opening of your theatre. 

Cash boxes should be taken to the box office fifteen minutes 
before opening time, and cashiers should be there in order to 

[5] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



start immediately checking their banks and arranging their tickets 
for the day's business. During this fifteen minutes some member 
of the management should be constantly in the vicinity of the box 
office in order that any difficulties may be straightened out without 
delay. 

Doormen should be on duty on the sidewalk at least fifteen 
minutes before the opening of the ticket offices "arranging those 
patrons who congregate for the opening in lines so that each one 
will have their proper turn in purchasing tickets. Should the 
weather be inclement these patrons should be invited to wait in 
the ticket lobby, or in the lobby itself, and lines should be formed 
so that they may pass around in front of the box office without 
being subjected to the weather conditions. 

House lights and emergency lights should be checked before 
the opening of the house, and the fire curtain should be lowered and 
raised in order to verify its proper working condition. 

The staff of ushers should be posted and distributed through- 
out the house upon accurate knowledge as to the normal movement 
of patrons as they come into your theatre. 

Your attention is called to the fact that all working schedules 
for your employees should be based upon the normal rate of 
attendance at your theatre, and these working schedules should be 
revised from time to time in order that you may economise and 
facilitate the operation of your service department. Anticipate 
holidays and special occasions when more ushers, doormen, or 
cashiers may be needed to handle properly those who wish to attend 
your theatre. It is better on these occasions to be slightly over- 
manned than to be found in need of help. We wish to emphasise 
this very important fact that from the time your theatre is opened 
to the public until its closing, it is highly important that the mana- 
ger or one of his assistants be on the floor of that theatre during that 
entire time. After the theatre is properly opened the responsibility 

[6] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



for watching the floor should be delegated to one of the assistant 
managers, and for a short period until the starting of your first 
complete performance the manager should devote his time to 
necessary office work. 

During the periods of capacity business both in matinee 
and evening, the manager must be on the floor in order to know that 
his staff is properly functioning. We have learned from past ex- 
perience and know it to be a fact that a theatre organisation can- 
not be properly controlled and operated from an office. It requires 
the presence of an executive continually on the floor of the house. 
Little difficulties and unusual situations that continually arise 
are of vital importance in the building up of permanent good will 
or ill feeling dependent entirely upon the manner and good judg- 
ment with which they are handled. This is entirely too important to 
delegate to any member of your usher force, and is one of the most 
important responsibilities of the managers. 

Your daily inspection, previously referred to as having started 
prior to the opening of the house, may be completed any time 
during the day, but proper record and notations should be made in 
order that they may be followed up and corrective measures taken. 
This daily inspection should include all parts of your theatre, in- 
cluding back stage, kinobooth, janitor's closet, basement rooms, 
passage ways and air chambers, boiler rooms, and engine rooms. 
About every two weeks, inspection should be made of the roof, 
marquee, grid iron, and fire escapes. 

With the many responsibilities and duties which a manager 
of a theatre has, we know it is highly important and essential for 
you to work out a schedule of the duties which require your atten- 
tion either daily, weekly, or semi-monthly in order that there may be 
no omissions and no neglect on your part. A typical schedule which 
may be modified to fit all theatres is shown on page in. 

We have learned from very carefully accumulated data that 
the large part of our electric current consumption is in our exterior 

[7l 



BALABAN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



lighting. Light schedules, for that reason, are very important and must 
be changed continually with the seasons of the year, and the adver- 
tising value expected from your various signs and exterior lighting. 
General schedules for the turning off of exterior lights are sent 
out from the office of the Supervisor of Theatre Management. 
We have experienced difficulty in the past in drawing up schedules 
from this office for the turning on of exterior lighting. That must 
necessarily rest in the hands of the theatre manager. On very dark 
and overcast days it may be necessary for you to burn your exterior 
lights from the time your house is opened. 

During the opening hours of your theatre after considera- 
tion of your show, and the care with which your patrons are served, 
your next most important consideration is that of proper ventila- 
tion. It is practically a uniform requirement throughout the United 
States that twenty-five cubic feet of air per minute per person be 
supplied to those in your theatre. Just the quantity of air is not 
sufficient in order to give good ventilation. 

Ventilation is primarily composed of three conditions — 
a dry bulb reading, air circulation, and humidity. We will discuss 
briefly these three conditions in order to give you a clearer under- 
standing of your responsibility in maintaining proper air conditions 
in your theatre. 

Dry bulb reading is the reading obtained from any thermom- 
eter with which you are all familiar. It merely gives you the de- 
gree of warmth or coldness of the air in your theatre. 

Air circulation is of primary importance for two reasons: 
first, to eliminate dead air, and second, for the elimination of 
drafts. The ideal condition is one of absolute uniform distribution 
of twenty-five cubic feet of air throughout your auditorium and 
building. 

Humidty is a condition which is not generally familiar to 
everyone connected with theatre operation, but is of great im' 

[8] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



portance, and is becoming a subject of study among theatre men all 
over the country. Humidity is the amount of moisture carried by the 
air. This amount is determined by reading what is known as a wet 
bulb thermometer in combination with the dry bulb thermometer. 
A wet bulb thermometer is nothing more nor less than the usual 
thermometer with a soft cotton wick tied about the mercury bulb, 
and this wick saturated with water. We all know the evaporation 
of moisture absorbs heat; therefore, the wet bulb thermometer will 
read lower than the dry bulb thermometer. The evaporation of the 
moisture from the wick which surrounds the mercury bulb will 
cause a cooling effect and produce a lower reading. The difference of 
the reading between the wet and dry bulb thermometer combined 
with the reading of the dry bulb thermometer when referred to a 
chart, known as a Relative Humidity Chart, will give you the 
relative humidity of the air in your theatre. 

Relative humidity means the percentage of moisture car- 
ried by that air with relation to its maximum or saturated con- 
dition. In brief, relative humidity of fifty, means that the air is 
carrying 50% of the maximum quantity of moisture which could 
be absorbed by that air. 

The relative humidity combined with the dry bulb reading 
when referred to a chart drawn up by the American Society of 
Heating and Ventilating Engineers, known as the Comfort Chart, 
will give you a point within or without a certain z;one; that zone 
plainly marked the "Comfort Zone. " The limits of this zone are 
bound by lines referred to as the summer limit of comfort and the 
winter limit of comfort. You should endeavor to maintain a con- 
dition in your house as closely to the comfort zone limits as possible. 
Keep in mind that humidity within any auditorium is for practical 
purposes uniform, and it is only necessary for you to have one 
instrument within your auditorium for taking this reading. 

Some of the ventilating plants placed in our oldest theatres 
have no definite control over the degree of humidity, but by 

[9] 

BALABAN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



experimenting you can vary the humidity, and, at times, you will 
be able to improve conditions materially. 

You will find that the proper winter condition would be a 
dry bulb temperature between seventy and seventy-two, with a 
relative humidity between forty-and fifty-five. 

For summer conditions you should maintain a dry bulb tem- 
perature between seventy-three and seventy-six, with a relative 
humidity between forty and forty-five. 

The most difficult periods of the year are the late spring 
period before you start your refrigeration plant, and the late fall 
period after your refrigeration plant has been shut down and before 
it is generally necessary to start your heating plant. Of the two 
critical periods, the more difficult one to handle is the fall period. The 
spring period you can generally take care of by use of sprays over 
the bunker coils because of the fact that your water supply is gen- 
erally very much colder than the atmosphere. You can operate 
your theatre with very comfortable air conditions if you will take 
advantage of this fact. 

The reverse of this is also true. In your fall period your water 
supply remains warm after your dry bulb air temperature has 
become cold, and by passing the air through this added quantity 
of water it raises the temperature and the humidity which in turn 
warms up your theatre. 

We caution you again that you must anticipate your air 
changes in order that you have effective temperatures at the periods 
of the day when you have your maximum business, and the periods 
of the day when you have your minimum business. Changing air 
conditions requires time and you should look ahead twenty to 
thirty minutes in order to gain effective temperatures. 

Assuming that the conditions described have been carefully 
supervised throughout the day, we call to your attention the im- 
portance of properly closing your house. The manager should never 

[10] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



leave bis theatre until he assures himself that all funds have been 
properly placed in the safe, and the safe and combination locked, 
and that proper instructions have been given to night watchman 
or to the chief janitor, should your cleaning force work through- 
out the night. 

During inclement weather it is very important that the mar- 
quee lights be left burning until all of your patrons have been sup- 
plied with cabs or have left the front of your theatre. Your footman 
should be instructed that on such evenings he must remain until 
the last patron has left the front of your theatre. 

Immediately after the close of the performance the fire cur- 
tain should be lowered, raised, and then lowered for the night. 

Proper work lights should be placed for the aid and assistance 
of the cleaning force, an inspection should immediately be made 
by the night watchman or the chief janitor, and all exterior doors 
securely bolted or locked. 




In ] 



BALABAN 5? KAT2 THEATRE MANAGEMENT 



( ( 



THE FUNDAMENTAL PRINCIPLES OF 



(Personnel 

BY far the most important function of management is the 
effective development and control of man power. This is of even 
greater importance in an organisation such as ours in which our 
product consists largely of service to our patrons. 

With these thoughts clearly in mind, we have prepared this 
Manual which is largely composed of specific instructions and 
general suggestions which will supplement your previous training. 
It is placed in your hands, in concrete form, to serve as a reminder 
of the importance of CAREFULLY SUPERVISED MANAGE- 
MENT. It is your duty to familiarise yourself with these instruc- 
tions and suggestions to such an extent that you can at any time 
furnish the methods of handling any situation, and, at the same 
time, inspire those employees who are under your charge to the 
extent that they shall show a willingness to develop within them- 
selves that spirit which we desire them to show. 

In order to accomplish this desired result with regard to 
your organisation there are certain qualities which you must develop 
within yourself, and certain methods of procedure which you must 
follow in handling the individual members of your organisation. 
You must demonstrate a sincerity of purpose, combined with a high 
sense of fair play and honor, and a breadth of understanding of 
human problems. You must know each member of your organisation 
by name, and have definite knowledge of each individual's back- 
ground before you can justly make decisions which affect those 
individuals. 

Your success as a Manager depends entirely upon the results 
you accomplish in handling your personnel. IN SHORT, THE 
PERFORMANCE OF THOSE UNDER YOUR CHARGE 
EITHER BUILDS YOUR SUCCESS OR MARKS YOU AS A 
FAILURE. With this constantly in mind you will see the necessity 

[13] 



BALA BAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



of a broad and tolerant, yet forceful attitude on your part, at all 
times showing full appreciation for work well done. 

Do not endeavor to accomplish this loyal and sincere type of 
organisation by means of false promises and statements which you 
are unable to guarantee as facts. A promise made to an employee 
should be as tenaciously adhered to as a promise made by you to the 
president of the firm. 

You have been provided with an Application for Employment 
form which will be used in receiving all applications. In addi- 
tion to this form, all bonded employees will furnish the cen- 
tral office with a bond application in duplicate. 

You will select and employ the following members of your 
organisation : ushers, doormen, service boys, footmen, porters, 
janitors, janitresses, secretaries, cashiers, nurses, and maids. 
The superintendent, chief janitor, chief usher, and treasurer will 
be selected and appointed with the approval of the Supervisor of 
Theatre Management. 

Other employees for the more responsible positions requiring 
technical skill and training will be engaged by the executive staff 
and appointed to the positions in the various theatres. 

Maintenance, construction, musical, and stage production 
personnel are furnished and controlled by the central organisation 
in each department. 

EACH EMPLOYEE SELECTED AND TRAINED IN 
YOUR ORGANIZATION WILL BE CHOSEN NOT ONLY 
BECAUSE HE MEETS THE REQUIREMENTS OF THE 
PRESENT POSITION, BUT ALSO FOR THE PROBABILITY 
OF HIS FUTURE VALUE TO OUR ORGANIZATION IN 
THE MORE RESPONSIBLE POSITIONS. In selecting those 
employees who come in contact with our patrons, great care will 
be exercised to choose those who have the following qualifications : 

[14] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



clean-cut appearance, radiant personality, wholesome character, 
and pleasing voice. 

QleawQut Appearance 

By a clean-cut appearance we have in mind an applicant of 
normal size and physique and pleasing features. This is very 
important because of the fact that the first impression received 
by our patrons is that which is received through the sense of sight. 
Appearance goes beyond the subject of dress. Many of our employ- 
ees are required to wear uniforms. In these they may present a very 
much different appearance than that which they have in clothes of 
their own choosing. 

(Radiant Personality 

Personality is that quality or those qualities which distinguish 
one individual from another and is the projecting of those dis- 
tinguishing qualities in each individual contact with our patrons. 
This quality is rarely found, but it is one which can be developed 
through constant effort. It is your duty to correct continuously 
and call to the attention of each of your employees any acts or 
expressions which do not measure up to this idea of radiant person- 
ality. An organisation properly schooled and trained in demon- 
strating their personality will never become stereotyped, or give 
the impression that each of your employees is an automaton. 

^Wholesome Qharacter 

By wholesome character we mean a straight-forward, honest, 
sincerity of purpose, and an earnestness of desire to perform each 
duty with credit. This is necessary in order to build loyalty 
which is one of the greatest constructive forces in any organisa- 
tion, without which little is accomplished and many mistakes are 
made. With loyalty in each of your employees, your organisation 
will be able to meet the most trying circumstances, and solve them 

[15] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



with satisfaction to the patrons as well as to the organization 
which you represent. 

Pleasing Voice 

A pleasing voice is very essential and necessary because 
of the fact that it is one of the means through which these other 
characteristics are made manifest. 

Although our training methods are designed to accomplish 
a great deal along these lines, we cannot expect to perform the 
impossible. Certain natural and basic qualifications are essential. 
Though employees may have a pleasing voice, it is necessary for 
you to keep in mind that the proper modulation of that voice is 
extremely essential. An employee must speak just sufficiently loud 
for the one who is intended to hear him, and not so loud that it 
becomes annoying to others nearby. Proper accent is also desirable, 
and adds greatly to the proper understanding of instructions and 
information. It has proven to be undesirable to use service employees 
who have very marked foreign accents. 

Education and Experience 

The education and experience of each applicant for the various 
positions in your organization will have an important bearing 
in your selection of employees. The amount of education which 
an applicant has had will give you a general basis for evaluating 
the service which he should render. A lack of specific education 
above the intermediate grades should not disqualify since it may be 
that experience in working in various positions may have been suf- 
ficiently valuable training to bring about the desired result. 

Qourtesy 

Above all, we must insist on unfailing courtesy. To those 
who have had the advantage of careful home training, this required 
courtesy will be a part of the equipment which they will have as a 

[16] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



basis for training. This quality of courtesy will make itself ap- 
parent in the interview before the applicants have been employed. 
Although you will of necessity be required to educate all new em- 
ployees to our standard of courteous service, it is highly desirable 
that they have some conception of the spirit of service. The specific 
instructions to be followed in the various situations are set forth 
in the Employee's Training Manual. These instructions are based 
upon tested standards. It is important that the instructions be 
carefully followed. It is equally important that they are interpreted 
by those who in their own work are actuated by this spirit. 

At the time of the inception of this type of service it was 
looked upon as a great novelty. As a result of their experience dur- 
ing the past few years the public has learned to expect it and demand 
it as a necessity. Our type of service is broad and does not discrim- 
inate in any case of race, class, nationality, or creed. 

Tpypes of Employees 

With these principles clearly in mind we have learned through 
past experience that there are certain types of employees for each 
particular position in and about a theatre. We know from experience 
that the first impression that a patron gains of our organisation is 
through the appearance of our employees. It is through them that 
we convey the very clear idea to the patron of our organisational per- 
sonality. These employees should be carefully selected in view of 
the fact that they represent not only the management of the indi- 
vidual theatre, but the firm in the eyes of each patron with whom 
they come in contact. Our effort is to give you a clear and concise 
idea of the particular type which should be your guide in the 
selection of your staff. 

Footmen 

Your footman should be a colored man, about six feet in height, 
medium heavy, erect, about fifty years of age, preferably with some 

[17] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



gray hair, approaching the old southern coachman type; one who 
thoroughly appreciates, and through previous training has learned 
the rudiments of courteous service. Your greatest difficulty in 
selecting and holding footmen will be in obtaining one who will 
graciously refuse the many gratuities which are offered. 

Sidewal\ or Outside Doormen 

Due to the various changes of weather, we have learned that a 
younger man, perhaps about twenty-three or twenty-four years of 
age, of the clean-cut college type is very desirable, rather tall, in the 
vicinity of six feet in height, erect, optimistic and smiling, extreme- 
ly courteous, and one who is at home in making contacts with those 
who are strangers to him. Where you use more than one sidewalk 
man, it is important to have them of somewhat the same sise. 

Qashiers 

Cashiers should be young ladies about twenty-five years of age, 
having a very pleasing personality and voice. It is not necessary that 
they be beautiful girls, but should be of a refined type, not using too 
much rouge or lipstick, and wearing their hair in a conservative style 
rather than in an extreme fashion. We have been able to find the 
type which we are describing, those who do not go to extremes in 
make-up or dress, but have a certain wholesome, frank, business- 
like appearance which is much appreciated by our patrons. 

Doormen and TDic\et T5a^ers 

The point where the patron surrenders his ticket is the real en- 
trance to your theatre, and it should be at that place that you make 
every effort to impress upon him the refinement and the dignity of 
your organisation. Therefore, you should select your ticket takers 
from men about fifty years of age, who are well preserved, rather 
tall with a bit of gray hair. This type of man is capable of trans- 
mitting by his appearance the atmosphere which you should be 
striving to build up throughout your theatre. 

[18] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



In the past we have had some difficulty in obtaining just this 
sort of man, and have at times been forced to use younger men, 
generally from our usher force to take tickets. If forced to follow 
this practice you should strive to select from among your ushers 
your most matured and best trained men, so that they may through 
sheer courtesy and warmth of greeting measure up to the standard 
as set forth by older men. 

Lobby UYCcn 

In order that you may continue the program of creating 
the impression which we desire our patrons to have toward our 
organization, it is essential that you select ushers for duty in the 
lobby from among your usher force, those men who present the 
finest physical appearance, combined with the ability to render 
cultured service. Good judgment is also an essential need so that 
these lobby men may successfully meet the various difficult situa- 
tions which confront them. As these young men are required from 
time to time to make announcements to incoming patrons, it is 
essential that you give a great deal of consideration to proper train- 
ing of their voice. Warmth of personality is another essential for 
the reason that they come in contact with many hundreds of our 
patrons each day. 

Ushers 

You should not be satisfied with any other type of ushers 
other than young men of seventeen to twenty-one years of age, of 
average height, about five foot seven, and of normal weight for 
their age, of about one hundred thirty-five to one hundred forty- 
five pounds. They should be keenly alert, both physically and 
mentally. These young men should show by their appearance that 
they have come from wholesome homes of refinement, that they 
have had the advantages of environment and home training. Their 
work is of such a character as to be of distinct benefit to any young 
man in any walk of life. If you are satisfied with any different type 

[19] 



BALABAN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



for your ushers you will find yourself very much handicapped in 
building up an organisation of our standard and qualification. 

In recruiting your force the best schools in the city and in 
your neighborhood are good places to solicit applications for 
employment in your theatre. In forming the copy to be used in the 
want ads in order to recruit your organisation, do not hesitate to 
prescribe educational and home training qualifications, so that these 
ads may automatically eliminate the type of young men whom you 
do not desire in your employ. 

Service Boys and ^Messengers 

With reference to service boys and messengers, we have 
learned that the smaller type of negro boy, not over five feet four, 
of slight or slender build, well formed and in good proportion, not 
markedly of the negro type with heavy features, but one mentally 
and physically alert and spry, capable of understanding our princi- 
ples of service, is most satisfactory. 

Jtfaids 

Your maids should be colored girls about twenty-five or thirty 
years of age, well past the frivolous and playful age, of a serious 
and quiet nature, of medium stature, preferably those who have 
been trained as domestic servants in the homes of cultured people. 
We have many times found that well trained nurses and govern- 
esses make excellent maids in our theatres. You should keep in mind 
that these maids do most of their work in the Ladies Rest Rooms 
where there is absolutely no supervision. For that reason you must 
give particular attention to their thorough understanding of service 
and sincerity in performing their duties. 

Porters 

In selecting your porters be guided by a type of colored man 
of about thirty to forty years of age, preferably one who is married 

[20] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



and has domestic obligations, who will attend seriously to his 
duties without interfering with the movement of patrons in or out 
of the theatre, one who will take pride in the cleanliness of wash- 
rooms and the theatre proper. These men should be of medium size 
and weight, and should have a clean-cut appearance, and at all 
times be extremely neat. 

Qonduct of Employees 

You are aware of certain rules of conduct which are so im- 
portant that disobedience subjects the offending employee to immed- 
iate dismissal. Several of these rules, such as those relating to 
dishonesty and insubordination, are common to many organisations. 
Others, such as those governing flirtation, and discourtesy, and the 
acceptance of tips, etc., are less prevalent. The somewhat more 
intimate contact of many of our employees with our patrons 
subjects these employees to peculiarly distracting influences. These 
conditions make summary measures necessary. Strict discipline is 
therefore essential. With a properly developed esprit-de-corps in 
your organisation, you will probably find it unnecessary to resort to 
extreme measures frequently. You will bear in mind that the labor 
turnover at your theatre is in part a test of your ability to select, 
train, and hold employees. It is not an evidence of good manage- 
ment simply to dismiss employees for minor infractions of our 
instructions. Rather it is a part of good management to assist in 
overcoming objectionable traits, thereby developing a more valuable 
employee for our organisation. 

You will caution all of your employees to exercise the utmost 
self-control in all of their contacts with our patrons. At times, 
patrons will be unreasonable in their demands and actions to 
the degree that they may become abusive. These occasions require 
unusual self-restraint and diplomacy. Our employees answer angry 
words and loud talk in carefully modulated tones and without re- 
sentment. Never, under any circumstances, are they permitted to 

[21] 

BALABAN fe? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



strike a patron, even though they may be attacked. In such cases all 
employees are justified in defending themselves by any means with- 
out doing bodily harm or injury to the attacker. We, who are en- 
gaged in rendering service to the public, may expect to submit to 
greater abuse while engaged in such service than we would in our 
own private affairs. 

Ushers 

The duties of ushers are such that explicit and specific training 
is necessary before they can be entrusted with the care of our 
patrons. No other group of employees is in such direct contact 
with our patrons. No other group is in a position to render more 
beneficial service. No other group has a greater effect upon the 
good- will toward our organisation. Good- will is the disposition on 
the part of satisfied patrons to return to the place where they have 
been well treated. 

Ushers are charged with caring for the direction and comfort of 
our patrons from the time they enter the doors until they leave the 
building. 

Ushers may at times be charged with the taking of tickets, 
the checking of patrons 1 parcels, the operation of the ropes when 
hold-outs occur and the inspection of auditorium seats and other 
equipment. Their specific duties are the direction of patrons to 
the various parts of the house, the direction of patrons to avail- 
able seats, the giving of information regarding the program and any 
other service conducive to the comfort and well being of the 
patrons. 

The service to the patrons will be given in a dignified manner 
which will be dominated by the spirit of helpfulness. The alert- 
ness of the ushers will enable them to observe quickly the desires 
and needs of the patrons. Care should be exercised for the purpose 
of preventing over-direction or over-ushering. Patrons of public 
places prefer to act upon their knowledge rather than depend 

[22] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL 



PRINCIPLES OF 



upon direction. Due to the si^e and grandeur of some of our theatres, 
many persons enjoy strolling about the foyers and corridors and 
should not be annoyed by the continual proffer of seats or other di- 
rections. Ushering may at times be overdone to such an extent that 
it becomes annoying. Usher service should be ever present, but 
never obnoxious. 

The foregoing can only be accomplished by instilling into 
each of your ushers the spirit of service, and the thought that in 
each particular situation which arises they must use their best 
judgment, and not be governed entirely by the written instruction 
or regulation covering a general class of instances. 

Footmen and (Doormen, and ^5ic\et ^5a\ers 

The service to and the comfort of the patrons of your theatre 
are under your care from the time they begin seeking an oppor- 
tunity to purchase tickets for admission until the time they leave the 
vicinity of the theatre. The footmen and doormen are charged with 
the care of patrons while they are outside the entrances. The 
mannerisms and attitude of footmen and doormen may be the means 
of holding many prospective patrons who may be deciding whether 
to wait for admission to your theatre or to go to another theatre 
where the wait may be shorter or possibly eliminated entirely. 
At this time many patrons will be influenced to enter your theatre 
by such minute details as: a pleasing smile, an inviting nod, a 
gracious manner, or a pleasant and expectant announcement 
concerning the wait. Cheerful service, willingly given, cannot be 
over- valued. Dignity and refinement in your doormen will never 
let their work approach the attitude of the "circus barker.' 1 Con- 
stant supervision and guidance are absolutely necessary to see that 
this service is alert and dignified without being overdone or 
flippantly given. 

One of the distinct refinements which we expect you to develop 
among your ticket takers is that of learning to L 'accept' ' tickets 

[23] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



rather than simply to take them. Endeavor to school your ticket 
takers in such a manner that this attitude approaches an art. Your 
ticket takers should also be impressed with the fact that any 
authorised admission in the form of a pass entitles the bearer to 
the same courtesy and gracious treatment as those who are admitted 
by ticket. You will impress upon them that the position of ticket 
taker is one of trust, and to discharge the duties connected with 
the position is a credit to the individual. 

In all situations arising from questioning the ages of children 
with regard to the proper admission ticket which they should 
present, be guided by a broad interpretation of our policy being sure 
not to offend the patron, and to give that patron the benefit of any 
doubt which might exist in your mind. 

The same idea of a broad interpretation of our policies where 
those policies affect the theatre-going public, will guide you in 
determining the length of time after the ticket change that you 
will accept tickets of lower price. This time can be determined only 
by close observation and experience. You are cautioned that the ill 
will incurred through the refusal of one admission, in most cases, 
greatly outweighs the small advantage of adhering to a finely 
drawn policy depending upon time. 

Qashiers 

Ticket selling when well done is an art in itself. It is more 
than the mere taking of money and giving in return tickets and 
change. Your cashiers should be so trained that, in addition to 
performing their mechanical duties in a business-like manner, they 
radiate and reflect the spirit of pleasure and welcome to our patrons. 
Through careful selection you have a distinct opportunity to 
transmit to your patrons the refinement and graciousness of the 
feminine touch. Accuracy and speed are essential, but these ele- 
ments are not necessarily accomplished by a worried expression and 
a pessimistic attitude. Caution your cashiers, as well as other 

b 4 ] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



employees, that during the time when they are busiest they have 
the greatest opportunity to make a lasting impression of the de- 
tailed refinement of our service upon a greater number of patrons. 
There is a distinct technique in handling currency which is carefully 
covered in the Employees Manual. 

Many of the most trying and difficult situations may occur 
at the ticket window. While specific methods of handling the unus- 
ual situations are outlined in the Employees Manual, it is import- 
ant to emphasize at this point the fact that cashiers are so trained 
that an attitude of sympathetic tolerance dominates their actions 
whenever misunderstandings arise. The responsibilities of the 
position are such that unusual care must be exercised in selecting 
those who are to assume them. 

All information pertaining to box office receipts must be 
considered strictly confidential, and must not be divulged to any 
person other than those in authority whom you know are entitled 
to receive it. 

Employees from Labor Organizations 

In addition to those employees who are members of your im- 
mediate service organization, you are responsible for the results 
obtained by the skilled tradesmen and operators furnished for your 
use by the labor organizations. This class includes musicians, elec- 
tricians, kinobooth operators, and stage men. Although these 
classes of men are controlled by rules and restrictions for which 
neither they nor we may be responsible, do not lose sight of the 
fact that they are to be held strictly accountable for results. The 
handling of these types of employees demands of you the greatest 
amount of diplomacy and tact on your part. Tolerance and con- 
sideration in the extreme will ultimately bring results which can- 
not be obtained in any other fashion. 

Kinobooth Operators 

The operators for your kinobooth are furnished by their labor 
organization. Their hours for work, wage rates, and working con- 

[25] 



BALABAN 6P KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



editions are controlled by labor agreements. They are responsible to 
you for being late, for notifying you in case they are to be absent, 
for the effects which they produce on the screen, for the care of 
equipment, and for their conduct while on duty. 

These operators are highly skilled and in most cases appreci- 
ate the importance of their work. You will do well to cultivate 
their friendly co-operation and thus further assure your patrons a 
smoothly running program, free from breaks and interruptions. 

Janitor Service 

Your further attention is called to another group of employees 
to which you may fail to give due consideration for their part 
in the maintenance of your theatre. This class includes your 
janitors and scrubwomen. In most cases these groups accomplish 
their work during hours when you are absent from your theatre. 
Even under the most pleasant conditions their work is drudgery and 
they deserve a place in your thought, and the encouragement which 
they might receive through an occasional visit from you during 
working hours. The importance of their work in its relation to the 
appearance of your theatre and its value in formulating that first 
good impression in the minds of the in-coming patrons cannot be 
overestimated. 

Policemen 

You are expected to build up friendly relations and good will 
between your organisation and the Police Department; therefore, 
it will be necessary for you to be extremely tactful and employ 
diplomatic measures necessary to comply with the following ideas. 

There are a number of little privileges and courtesies which 
you may extend to members of the Police Department who are 
regularly in the immediate vicinity of your theatre. Passes care- 
fully controlled and judiciously distributed to members of the 
Police Department will do much to build up a spirit of friendliness. 
It has become a policy of this organisation not to accept the display 

[26] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



of a police star as a general admission to our theatres. However, 
this must not be construed as reason for prohibiting police officers or 
detectives while in line of duty from being passed into the theatre. 

Officers who perform special duties, such as money guards 
or traffic regulation are usually compensated in a small way by the 
theatre manager. You will inform yourself of precedents already . 
established, and if none are present, you will confer with the Super- 
visor of Theatre Management. This also applies to Christmas 
gratuities. It is advisable whenever possible to assign locker space to 
officers who are permanently on duty in or around your theatre. 

You will be expected to exhaust every reasonable means of 
handling any situation at your theatre before you resort to the call- 
ing of the police. In cases where they are called, you will remain 
with them and do all in your power to prevent the situation from 
becoming more annoying than it was prior to the arrival of the 
police. 

Firemen 

With reference to city firemen, the same policies and atti- 
tude on the part of the theatre manager as that outlined for members 
of the Police Department, will control your actions. To assure the 
safety of the theatre-going public, periodic inspections are made of 
your theatre by members of the Fire Prevention Bureau. You must 
realise that this is also a protective measure for us, and you should 
co-operate in every way with these firemen in any reasonable de- 
mands which they may make. The greatest protection which you 
have as a theatre manager is a theatre free from fire hazards. This 
can be accomplished best by a frank and open discussion of ques- 
tionable conditions with the fire inspector. In case where they de- 
mand something which you feel unjustified and unreasonable, do 
not become provoked, but merely suggest that the report be 
sent to you in writing through the Battalion Chief in your district. 
This will give you an opportunity for careful consideration and 

M 

BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



time to lay plans for complying, if it becomes necessary. Under no 
circumstances will the daily report be turned over to the inspector 
prior to the date covered by that report. 

Stage Production Personnel 

Whenever stage productions and specialties are being pre- 
sented at your theatre, you will be charged with added responsi- 
bilities. Since the personnel of these troupes is neither employed 
directly by you, nor will they remain with you for any long period, 
they may feel that they do not owe you the same allegiance as your 
regular employees. It is all the more important that you maintain a 
close contact with their work to see that it is up to the standard, and 
that they conform to the terms of their contracts and to the rules 
and regulations governing their activities. 

You, as our representative, will not permit any unauthorised 
"cutting" of their performance or the introduction of any objec- 
tionable features. 

All absences of artists or performers will be reported by you 
to the Production Department. Lates will be reported immediately 
to you, and you in turn will report persistent offenders to the 
Production Department. 

The importance of the work of performers and stage employees 
is so great that no distracting influences can be permitted. The pres- 
ence of intoxicating liquors must not be tolerated. Cards, games of 
chance, or other forms of gambling will be discouraged. 

Performers are expected to conduct themselves in a manner 
becoming ladies and gentlemen. They will be required to be decently 
dressed when going about backstage. 

You will be approached at times by members of stage produc 
tion troupes who will ask for advances to be charged against their 
current contracts. Before granting any advances of this kind, you 
will communicate with the Production Department or the Account- 
ing Department to determine whether they have any money due 

[28] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



them on this contract. If advances are authorised and made by you, 
assure yourself that proper report is made to the Production and 
the Accounting Departments. These precautions are necessary to 
protect yourself and others from overpaying these companies. 
Remember that the one who makes a payment in excess of the 
amount due is held personally responsible. 

Productions which make use of live animals present additional 
problems. Although the performers care for the animals, they do 
not always take proper means to overcome offensive odors. One of 
the simplest and most effective methods you can use for this pur- 
pose is to mix equal parts of vinegar and water and allow this 
mixture to simmer over a small electric stove during the stay of the 
animals in your theatre. 

Progress of Employees 

There are very few positions in our organization which are 
not training grounds for other positions of greater responsibility. 
Our organisation is definitely committed to the policy of filling the 
higher executive positions by promotion from our own ranks. With 
this as our policy, we cannot afford to maintain a continued interest 
in those who show no evidence of growth in our organisation. 

You are expected to make a periodic inspection of the progress 
records for the purpose of determining the fitness of each of your 
employees for their retention on your payroll and further for con- 
sideration of those employees who have demonstrated their quali- 
fications for advancement. 

The record of progress is made on the reverse side of the 
application. This combination presents a complete record of each 
employee's qualifications and growth since joining our organisation. 

(Discharging of Employees 

In discharging employees from your organisation for any 
reason, you are cautioned to perform this duty in a manner in keep- 
ing with your position in our organisation. Employees who are being 

[29] 

BALABAN &> KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



discharged because of violation of instructions should be made to 
feel the justice of your decision and that your action has been made 
necessary by their own conduct. It is not necessary to engender a 
spirit of antagonism or ill will among those who are discharged. The 
tone of the voice and the language used in such instances are indica- 
tive of your calibre as a manager. 

Although we may be unable to use their services, we may be 
able to retain their respect and good will. 

Finally, your success as a manager will depend entirely upon 
the support which you are able to obtain from each and every 
member of your organization. Therefore, there should be a distinct 
and profound appreciation and inter-respect between you and each 
of your employees. 

Employees VYCeetings 

You will find that regular, scheduled meetings with your 
employees are a most vital factor in maintaining the efficiency and 
spirit of your organisation. These meetings should be scheduled at 
regular intervals, preferably once each week and should not be 
omitted except in the most urgent conditions. In order to reap the 
greatest benefit from them they must be carefully planned and made 
intensely interesting. This can best be accomplished by definitely 
laying out a program of procedure. 

These meetings are invariably held during periods outside 
of the regular working schedule of employees who are attending. 
Meetings should under no conditions become stereotyped or matters 
of form. Vary them frequently, and from time to time reasonable 
expenditures will be approved which will permit you to serve 
refreshments of some kind. Many times the presence of a guest 
speaker will add materially to your meeting. At other times you 
will be able to have one of the executives from the general office 
present who will be glad to talk to your assembled employees. 

[30] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



These meetings will generally occur late in the evening, 
usually after the starting of the last feature picture. The hour of 
the night, and the fact that every one present has put in a day's 
work necessitates added enthusiasm and effort on your part to 
make them successful. Never consume more than forty-five minutes 
to one hour for these meetings, as a longer time will be less effective 
due to the fact that the employees become tired and fatigued. 

Your program should include constructive criticism of the 
performance of the various employees in their respective duties, and 
instruction as to the correction of the faults or omissions committed 
by them. This may be followed by a general open discussion of ser" 
vice problems provided the particular group of employees is 
sufficiently mature to realise that this discussion is not intended as 
an opportunity for voicing their personal grievances. 

We have found that the final talk of the evening should be 
along inspirational lines, one that will enthuse the employees to 
greater effort and a broader outlook. During this talk the attitude 
of the speaker is very important, as the words which are spoken are 
not nearly so impressive as the spirit conveyed to the employees 
by the speaker. 

The atmosphere of the entire meeting depends primarily upon 
the presiding officer. This atmosphere should be intensely human, 
full of understanding of the problems confronting that group of 
employees. In approaching a subject for discussion, approach it 
first from the viewpoint of the employee, and gradually raise that 
viewpoint through proper explanation and reasoning to the view- 
point of the house executive, which is the viewpoint you want 
each of the employees to understand thoroughly. The attitude of 
the presiding officer should be that of one who has been a chosen 
leader, rather than that of one who finds himself in a superior 
position due to any other cause. 

It is impossible, under any circumstances, to overdo the u we" 
attitude, so that each employee will feel personally responsible for 

[31] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



his part and place in the general scheme of the organisation, and 
the service which it renders. 

Gifts from Employees 

In this organisation we have never encouraged the giving of 
gifts from any group of employees to those in executive or superior 
positions. We believe that this practice is fundamentally unsound, 
and may lead to situations which will cause keen embarrassment on 
the part of both executives and employees. We, therefore, definitely 
discourage the practice. 

This is not to be interpreted as being opposed to the giving 
of flowers in case of severe or prolonged illness on the part of any 
member of the organisation, or to the giving of appropriate gifts 
which clearly arise out of human sympathy. 

Accidents to Employees 

The laws of this state require that we carry insurance cov- 
ering our liability in case of accident to any of our employees; 
therefore, should any of them be injured in our service, a report 
on forms provided should be made immediately. If, in your judg- 
ment, the case warrants medical attention do not hesitate to call 
a doctor. 

In rendering reports of accidents to employees fill out the 
form in triplicate, and forward two copies to the general offices, 
who, in turn, will file one copy then forward the original to the 
insurance company. You should have a sketch made on the back of 
the original copy showing in detail the exact location where the 
accident took place. 

In case of serious accidents, such as broken bones or severe 
cuts, the insurance company should be called direct, and in most 
cases they will send a special investigator without delay to the 
scene of the accident, who will make a special and detailed report. 



BALABAN fe? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Emergencies 

Emergencies and unusual conditions not covered by instructions 
will be immediately referred to some one clothed with authority 
to act in such cases. The following are examples of such emergencies 
and unusual conditions; fire, panic, sickness, hysterics, intoxicated 
persons, and morons. It is sufficient for our purpose to define 
morons as any persons who force their attentions upon others. 

The conditions resulting from a fire, panic or general excite- 
ment may become so serious that one of our patrons might be 
injured or even killed. Such a situation would counteract years 
qf excellent service previously rendered. In a general scheme of 
action at such times, such conditions may be grouped into two dis- 
tinct classifications — local and general. In all local emergencies 
the proper action is to remove the cause. In cases of general 
emergencies the proper plan of action is to retard and control the 
exodus. Thus, it is all important that the theatre manager or his 
assistant be available at all hours during which the theatre is open 
to the public. 

Very unusual occurences may take place in your theatre, 
such as the death of a patron or the taking of poison by a patron. 
Either of these conditions require very prompt action on the part 
of the Manager and his staff. First, in order not to interrupt the 
performance or cause unnecessary excitement, and, second, for 
the welfare of the party concerned. In case of death in the theatre 
it is necessary to notify the coroner immediately, then notify the 
nearest relative or the first relative or business associate of the 
deceased it is possible to locate. 

The whole procedure should be as quiet and as inconspicuous 
as possible in order to avoid the congregating of curious onlookers. 

Fire Thills 

The purpose of fire drills is to ensure the efficient and safe 
use of the exit facilities available. Proper drills ensure orderly exit 

[33] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



under control and prevent the panic which has been responsible 
for the greater part of the loss of life in the major fire disasters of 
history. Order and control are the primary purposes of the drill. 
Speed in emptying buildings, while desirable, is not itself an object 
and should be made secondary to the maintenance of proper order 
and discipline. 

Drills should be held, at least once each month in order to be 
effective. 

Fire is always unexpected. Drills should be so arranged that 
they will ensure orderly exit under the unusual conditions obtaining 
in case of fire. For this reason, drills should be habitually held in 
unexpected ways. If the drill is always held in the same way it 
loses much of its value, and when for some reason in actual fire it is 
not possible to follow the usual routine of the fire drill to which 
your staff has become accustomed, confusion and panic may ensue. 
Drills should be carefully planned to simulate actual fire conditions. 
Not only should they be held in varying ways, but should use 
different means of exit, assumption being made, for example, that 
some given stairway is unavailable by reason of fire or smoke, all the 
occupants being led out by some other route. 

In order to secure proper order and control, it is essential 
that the plan and conduct of the drill be in the hands of responsible 
persons competent to exercise leadership, who have been carefully 
schooled in what to do in case of fire emergency. 

In buildings where the population is of a changing character 
and not under discipline, such as our theatres, no regularly organ- 
ised fire drill, such as that which may be conducted in schools is 
possible. In such cases the fire drills must be limited to the reg- 
ular employees, who, however, can be thoroughly schooled in the 
proper procedure and can be trained to direct properly other occu- 
pants of the building in case of fire. 

[34] 



BALABAN fe? KATZ THEATRE MANAGEMENT 



\ 

THE FUNDAMENTAL PRIN CI P L E S OF 



The following suggested Exit Drill plan describes an organic 
zation and procedure suitable for a large theatre. This plan may be 
modified to suit all types and classes of theatres. 

Object of the Drill 

The object of these monthly drills is to prepare each and every 
member of this organization to meet courageously, correctly and 
successfully any conditions, whether it be a woman fainting, a 
hysterical person or a general panic. 

Emergencies may be classified as follows: 

Local Disturbances 

This covers such cases as fits of any kind, sickness, hysterics, 
fights, intoxicated patrons, etc., where the disturbance is entirely 
local and the audience is not generally disturbed or uneasy. 

Under these conditions remove the cause and the excitement 
will soon clear up. 

General Disturbances 

First, when excitement is general, but there is no eminent 
danger and it is not necessary to clear the house, for Fire Drill 
purpose refer to this condition as "Emergency No. i." 

Duties of Ushers 

1. Stand by your post. 

2. Do not run, but walk over your particular territory, quiet by your 
presence and by proper announcement any excited patrons. 

3. The announcement in substance should be, "Kindly keep your seats, 
please, there is absolutely no danger, the performance is continuing as 
usual." 

Second, when excitement is general and danger and panic 
are eminent, in this case the house must be cleared. For drill 
purpose refer to this condition as "Emergency No. 2." 

[35] 



BALABAN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Duties of Ushers 

1. Remain at your posts. 

2. Conduct yourself without undue excitement or running. 

3. Control the exodus by direction and with the announcement, "Do not 
rush, there is plenty of time. 11 

Points to be remembered: 

1. The vacating of the house will start soon enough and will pick up speed 
you must retard rather than hurry people, mainly by your conduct and voice. 

2. It is inside of doors where people are crushed in panics, therefore, en' 
deavor to be there to prevent the crushing and crowding. 

3. Endeavor to distribute people by direction to all stairways and "fire escapes 
available, so that no one means of exit is overcrowded. 

4. People naturally leave a place by the same route which they used in enter' 
ing; therefore, do not direct to the Grand Stairway. 

5. Open fire exit doors when possible, and lower fire escapes. 

6. In order to control people you must be ahead or in front of them where 
they can see you. Shouting from behind them will do no good. 

7. If you are on duty in Lost and Found, Check Room, endeavor to put all 
parcels, grips, etc., inside and lock the door, then assist on exit doors. 

8. Ushers on the ropes in the lobby: 

(1) When no one is waiting in the lobby, take down all ropes, then assist 
in directing the exodus. 

(2) When people are waiting in lobby, get the clearing of lobby started 
first through entrance doors before removing ropes. 

9. GOOD JUDGMENT, THE PRODUCT OF TRAINING AND 
QUICK THOUGHT AND STEADY NERVES, IS THE THING THAT 
COUNTS MOST IN AN EMERGENCY. 

10. Remain at your post until it is clear of patrons, then assist at the nearest 
point of confusion. 

11. ALL PHONE CALLS ANNOUNCING AN EMERGENCY, 
MUST BE VERIFIED. 

Points to be covered at each drill : 

1. Proper way to carry and remove sick or fainted persons. 

2. Lower all fire escapes and inspect. 

3. Open all fire exit doors. 

[36] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



4. Inspect all exit lights. 

5. Inspect all fire equipment. 

6. Explain proper way to manipulate fire extinguishers. 

7. Inspect all fire guards cards. 

8. Simulate various conditions; such as — 

a. Smoke plainly visible in the auditorium coming through floor vents. 

b. Smoke or flame being seen on the stage. 

c. Fire in any portion of the main floor; in any portion of the balcony. 

d. Minor emergencies, such as — 

Fist fights. 
Intoxicated persons. 
Demented persons. 

e. A shot being fired. 

/. Screaming or yelling. 




[37] 

BALABAN S> KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Operating "Methods 

Accidents to Matrons 

WE are insured with a reliable insurance company to cover 
all claims resulting from accidents to patrons during their 
visits to our theatres. The premium rate of this class of insurance is 
based entirely upon the number of claims settled; therefore, do not 
hesitate to report on regulation forms every accident which is out 
of the ordinary and might result in an accident claim. You should 
not attempt to decide as to the seriousness of an accident. Your 
duties require that you make a report in all cases. 

All employees of the theatre should be instructed that when 
an accident occurs, and it is called to their attention either 
through being an eye witness, or by other patrons of the theatre, 
they should first render assistance to the injured party, removing 
them if necessary, from the auditorium to a rest room or foyer. 
Communicate with the management immediately, and then proceed 
to obtain the name, address, and phone number of the injured party; 
the names, addresses, and phone numbers of those persons who 
might be accompanying the injured party; the names, addresses, and 
phone numbers of two other witnesses, if possible, who are not 
members of the theatre staff; then the names, addresses, and phone 
numbers of all members of the theatre staff who might be used as 
witnesses in any way in connection w T ith the case. 

In any case where the injury is slight it should be cared for by 
the maid or matron of your theatre. Should it be necessary to call 
a doctor, endeavor first to communicate with the doctor represent- 
ing our insurance company. His name, address, and phone number 
is furnished you. Should this be impossible, communicate with the 
nearest physician. 

Under no circumstances, make any remarks or suggest in any 
way that there might be a settlement made. Endeavor to render 

[39] 



BALA BAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



every service possible with the idea; first, of rendering humani- 
tarian aid and assistance, and second, with the idea of leaving 
the injured party in a friendly frame of mind toward your theatre 
and organisation. 

Should any of our patrons be taken sick while visiting your 
theatre, render every assistance possible. Should the patron 
request medical service caution that patron that it will be at his 
own expense, and notify the doctor who is called either to collect 
or bill the patron direct for his services. 

Qhec\ing Service 

Our checking service not only provides a worth while and 
much appreciated service to our patrons, but also reacts to our 
benefit by reducing a part of the hazard when emergencies occur. 
In many places of public assemblage, bulky parcels, traveling 
bags or suit cases are prohibited in the auditorium. While we do 
not desire to go to the extent of prohibiting their presence in our 
auditorium, every effort should be made to get our patrons to 
take advantage of our checking service. This service, dependent 
upon local conditions, might be extended to include umbrellas 
and rain coats during inclement weather. Frequent reports of losses 
in the check room will be looked upon by the control office as an 
evidence of carelessness. 

Lost and Found 

The Lost and Found Department presents one of our most 
fertile opportunities for rendering a service to our patrons be- 
yond that which they have a right to expect. Every effort should 
be made to add to the goodwill accumulating to our organisation 
by adding a distinctive personal touch when the opportunity affords 
itself to return lost articles. Each of the articles which is found 
and cannot be returned should be viewed in the light of a lost 
opportunity to enhance the goodwill for your theatre. You will 

[40] 



BALABAN 5? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



appreciate that many articles which may be lost have an individual 
sentimental value to the owner many times their intrinsic value. 

All claims for damage regardless of the amount of money in- 
volved should be investigated and a written report including your 
recommendations should be forwarded to the Supervisor of Theatre 
Management for final disposition. Defective conditions brought 
out by the above investigation should be immediately remedied. 
Never, under any circumstances, commit yourself concerning 
any settlement. 




[41] 

BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Correspondence With the Public 

IN our desire to maintain a uniform policy for all our theatres 
in their contact with the public, we have arranged to have all 
written correspondence with our patrons taken care of from the 
central executive office. Whenever letters are received pertaining to 
your theatre or service, you will open and read them, attach your 
comment or suggestions, and send them to the Supervisor of Thea- 
tre Management for reply. The only exception to this practice is 
that covering routine correspondence relating to the Lost and 
Found Department. The following typical form letters cover 
many of the situations which frequently occur. These letters and 
others of a similar character are to be typewritten individually 
so that each case will have a personal element in it. 

You will notice that each letter has in it a distinct note of 
service which fits each case. This will assist in the building of 
friendliness toward your theatre together with a confidence that 
you are willing to go to unusual limits to please your patronage 
in addition to furnishing them with pleasing entertainment. 



[43] 

BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Typical letter for return of article bearing name, to loser which was 
found and turned in by another patron. 

NO. I 

The enclosed bill fold was found in our (Tivoli) Theatre by 
Mr. John Jones, 1154 East 53rd St., Telephone No. Hyde 
Park 4936. 

Mr. Jones presented it to our Lost and Found Depart' 
ment with the request that we return it to you. 

May we suggest that you write a card or letter to Mr. 
Jones notifying him that you have recovered your loss? 

Yours very truly, 

Balaban & Katz Corporation 

By 

Typical letter for notifying patron that article they turned in was 
claimed and returned to loser. 

no. 2 

You will be interested to know that (the bill fold) which 
you found in our (Tivoli) Theatre was claimed by Mr. James 
Brown, 403 East 49th Street. 

We take this opportunity to thank you for assisting us in 
recovering Mr. Brown's loss. 

Yours very truly, 

Balaban 6? Katz Corporation 

By 

[44] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Typical letter for return of article found by theatre attache which 
article contains loser's name and address. 



NO. 



The enclosed bill fold was found in our theatre by one 
of our theatre attaches. 

As it bears your name and address, we presume that it 
belongs to you and take pleasure in sending it herewith. 

Yours very truly, 

Balaban 6? Katz Corporation 



By 



Typical letter for notifying patron who registered loss of article that 
similar article is held by another patron who found it. 



no. 4 

We are pleased to inform you that (a pair of gloves) an' 
swering the description of those you lost in our (Tivoli) 
Theatre was found by Mr. John Jones, 1142 East 53rd 
Street, Telephone No. Hyde Park 4936. 

If you will communicate with Mr. Jones, we are sure 
he will be happy to return your property. 

Yours very truly, 

Balaban 5? Katz Corporation 

By 

[45] 



BALABAN cr KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Typical letter for notifying patron who registered loss of article that 
no such article has been found. 



no. 5 

We have made a careful search for (the scarf) you re 
ported lost in our (Tivoli) Theatre, and regret very much to 
inform you that we have failed to locate (it). 

In the event that (a scarf) answering the description 
given by you comes to our attention later, we will be pleased 
to notify you. 

Yours very truly, 

Balaban 6? Katz Corporation 



By 



Typical letter as\ing patron to return, identify and claim article 

reported lost. 

no. 6 

We are pleased to inform you that we have found (a 
scarf) which answers the description of your reported loss. 

May we request that you call for (it) within the next 
two weeks. Our space for lost articles is limited and you 
will oblige us by claiming your loss as soon as possible. 

Please bring this letter. 

Yours very truly, 

Balaban 6? Katz Corporation 

By 
[46] 



BALABAN ii KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Typical '''Follow Up" letter where patron fails to claim article in 
due time after having been notified of recovery by previous letter. 

no. 7 

Under date of March 3rd we wrote you advising that 
we found (a scarf) which comforms to the description of 
your reported loss. 

We should like to have you examine (the scarf) in our 
possession, and, if it belongs to you, claim it. Unless we 
hear from you within the next week or ten days, we will 
presume that you recovered your loss and that (this scarf) 
is not yours. 

As our space for lost articles is limited, we shall be 
obliged to dispose of (the scarf) which was found by pre- 
senting it to the finder. 

Yours very truly, 

Balaban & Katz Corporation 

By 

Typical letter returning article to finder, under separate cover, after 
it remains unclaimed due length of time. 

no. 8 

(The scarf) which you found in our (Tivoli) Theatre 
on March 3rd and left with us remains unclaimed. Under 
the circumstances, since you found it, and our quarters for 
lost articles are limited, we are sending it to you under 
separate cover. 

In the event that the loser should make his appearance 
later, we will take the liberty of referring him to you, and 
trust that this will be satisfactory. 

We thank you for your co-operation in this matter. 

Yours very truly, 

Balaban 6? Katz Corporation 

By 

[47] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Typical letter for return of article bearing loser's name hut not address, 
through institution where article was secured. (Ban\ Boo\s, etc.) 

no. 9 

Mid City Bank and Trust Company, 
Gentlemen : 

The enclosed bank book, bearing the name of John 
Jones, was found in our (Tivoli) Theatre and left in our 
Lost and Found Department. 

As Mr. Jones 1 address is not known to us, we should 
like to return it to him through your institution. Will you 
be kind enough to communicate with him? 

Yours very truly, 

Balaban 6? Katz Corporation 

By 

Typical letter as\ing patron to return and claim pair of gloves, one of 
which was found and turned in, where one glove was left at the Lost 
and Found Department for purpose of identification. 

NO. 10 

We are pleased to inform you that we have found a 
glove which seems to match the one which you left here 
when you registered your loss at our Lost and Found Dc 
partment. 

May we request that you call and complete the identi' 
fication and claim your loss within the next two weeks, as 
our space for lost articles is limited. 
Please bring this letter with you. 

Yours very truly, 

Balaban 6? Katz Corporation 

By 
[48] 



BALABAN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Typical letter notifying patron that glove lost has not been found, 
and where mate was left for identification, to call and claim same. 



NO. II 

We have made a careful search for the glove you reported 
lost in our (Tivoli) Theatre and regret very much to inform 
you that we have failed to locate it. 

Will you kindly call for the glove that you left with us 
as soon as possible as our space for lost articles is limited? 

Yours very truly, 

Balaban & Katz Corporation 

By 




[49] 

BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Refund (Procedure and Policies 

A REFUND grudgingly given to a patron will many times 
cause ill will far in excess of the monetary value of that re- 
fund. Therefore, we desire to assume a very broad and tolerant 
attitude in the granting of refunds so that it will be carried on 
in such a way as to make it a pleasant transaction for the patron, 
and will build goodwill for our organisation. With this in view, 
we are giving you the following approved suggestions which out- 
line our refund policy, and should be used by you as a guide in all 
refund transactions: 

1. The authority of signing refunds is confined to the Manager and the 
Assistant Manager. In the absence of one of the Managers, the Treasurer has 
authority of signing refund slips. It is to the advantage of the Treasurer to avoid 
signing refund slips if possible. The Manager or the Assistant Manager must 
O. K. refund slips signed by the Treasurer. 

2. Do not sign refund slips in blank. They should only be signed for immediate 
use by a patron. 

3. Refund slips must not be issued to patrons who have not surrendered 
their tickets to the ticket takers. 

4. Tickets still in possession of the patron, if of current date, may be pre- 
sented at the box office by any patron and refund made without approval of any 
one of the Managers or the Treasurer. Refunds being made on such tickets are 
to be paid to patrons and not to employees. Employees are to request patrons to 
present such tickets for refund at the box office. 

5. In making refunds on tickets sold on previous dates money must be re- 
funded from petty cash. This case requires the signature of the patron to a petty 
cash voucher filled out in the proper amount. This amount is collected from the 
Manager from his petty cash fund by the Treasurer prior to the checking out of 
the funds of that particular cashier from whom the refund was obtained. 

6. Patrons having surrendered their tickets to the ticket takers must get a 
refund slip in order to obtain their money. Patrons will be given a properly filled 
out refund slip, and be requested to present it at the box office for such refund. 
Ticket takers are not to return valid tickets to patrons under any 
circumstances. 

[51] 



BALABAN &> KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL 



PRINCIPLES OF 



7. Tickets may be presented for admission which may have been purchased 
at a price different from that at the hour when they were presented. These are of 
two classes — those purchased on current date, and those purchased on previous 
date. 

(a) Should a patron present a ticket of current day's sale which he pur' 
chased previous to a price change he may, by presenting this ticket 
to the box office and paying the additional increase in price, receive 
the authorized admission ticket for that particular time of day. 

(b) In case tickets are presented of previous day's sale, the Manager will 
fill out a petty cash voucher and the refund will then be made. 

8. Refunding in mass by refund slips can be made in cases of emergency and 
under ususual conditions, but it is not advisable as a general practice. 

9. In general, refunding, in accordance with the suggestions as indicated is 
simple and should lead to no misunderstanding or irregularity. 

10. Patrons wishing to leave the theatre for a short period and return are to 
be given a ticket which has been well punched and which will be honored on his 
return if within a reasonable length of time. Refunds are not to be made on tickets 
punched in this manner. 




[5^1 

BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



VYCovement of Matrons into the Theatre 

THE rate of movement of patrons into your theatre is very 
important information for it should be used as the basis for the 
operation of your entire organisation. The working schedules of 
your employees should be based directly upon this rate of move 
ment of patrons into your theatre, and it is only upon this basis 
that you can arrive at an economical and proper distribution of the 
necessary Service Department Expenses. The scheduling of your 
performances, the planning of your publicity, the time of admission 
price changes should all be based upon this rate of flow of patrons 
into your theatre. 

This data is usually kept in permanent record form by taking 
periodic ticket readings in your box office, but should be con- 
stantly checked by the maintenance of fill and spill cards by the 
ushers on duty in your theatre. Where the regulation fill and spill 
card is not considered, a master spill card should be maintained for 
future references. 

By continual and close observation of the spill cards you 
will discover that in a properly operated theatre your attendance is 
comparatively consistent and uniform, particularly with reference 
to feature pictures starring particular personalities. You will also 
learn that your Saturday business compares uniformly with any 
other Saturday in that particular season of the year; that your 
holiday business on any particular holiday is about the same each 
year. 

Your business will naturally fluctuate with various seasons 
of the year, and attractions; you should anticipate these changes 
and take corrective steps whenever possible to improve business 
conditions. Anticipation of holidays and weeks when you are 
handling a particular feature performance is one of your primary 
responsibilities as a house manager. Any theatre manager who is 
not capable of feeling the pulse of public reaction to any perform- 

[53] 



B A L A B A TSf 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



ance in his theatre is not capable of being classed among success- 
ful managers. We learn primarily from the mistakes which we 
make, and our only guide in this business is the reaction that is 
set up in the minds of our patrons by each performance which we 
present to them. 

In our organization where we have invested many hundreds of 
thousands of dollars in buildings and equipment, we cannot afford 
to build up a patronage depending entirely upon the drawing power 
of our feature pictures as we display them. We must build up in 
the minds of our audience the feeling that we represent an institu- 
tion taking a vital part in the formation of the character of our 
community. 

Spill Qards 

Spill cards, as referred to, are forms used for the recording 
of the number of patrons entering any theatre or particular portion 
of that theatre in equal consecutive periods of time. The purpose 
of the spill card is to furnish you a means of estimating the expected 
number of vacant seats at any time during the performance, and 
further for estimating the length of wait to be announced to patrons 
purchasing tickets after the entire house or that particular portion 
of the house is filled. 

The recording and the keeping of these spill cards is some- 
thing which must be learned through actual discussion and in- 
struction by one familiar with the situation, as to attempt to 
describe it in writing is confusing and might lead one to the idea 
that it is a tremendously complicated task. 

The spill card is further valuable to the House Manager as 
an accurate record of the rate of ingress to his theatre on any 
particular day, and should be the basis for the computation of his 
schedules for like days and like seasons of the year. 

Many phases of good theatre operation are based entirely 
upon the rate at which persons enter your doors. Program time 

[54] 



BALABAN 6s? K A T 2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



schedules, employees 1 working schedules, opening hours are all 
based upon accurate information of the rate of attendance at your 
theatre. 

Schedule for <Pic\ Up of Films and VYCusic 

You will be required from time to time to send one of your 
employees to "pick up" film and music. Every effort should be 
made to arrange these pick ups during the normal working hours of 
the employee sent in order to avoid extra charges for overtime. 

When you are charged with the responsibility of returning 
film to the exchange, to the executive office or passing it on to 
another theatre, you must be just as careful and tenacious in 
the prompt delivery as you would wish another manager to be if 
you were receiving the film. 

'Petty Qash 

A Petty Cash Fund is placed in your keeping for the purpose 
of meeting minor emergency expenses which occur from time to 
time. No petty cash voucher for more than $10.00 should meet with 
your approval without first obtaining the approval of the next 
higher executive. Petty cash vouchers should be detailed in the 
explanation of the expenditure. If sufficient space is not provided 
on the face of the voucher, you may use the back of it for further 
explanation. 

Petty cash may be used for small advances not to exceed $15.00, 
to regular employees, which do not extend over a period of two 
weeks. Any advance in large amounts or for longer periods of 
time should go through the prescribed form of approval and pay- 
ment by the auditor. 

VXtovie Qensors 

Moving picture censors will visit your theatre at varying 
intervals to observe your performance and check the permits on all 

[55) 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



films run during the performance. You must realise that it is ad- 
vantageous to have the goodwill of these persons. They are en- 
titled to admission to your theatre upon the presentation of the 
proper credentials of their positions. They should receive all 
necessary attention from the Manager and his assistants. 

Qritics 

Music, moving picture and dramatic critics are generally taken 
care of by the Publicity Department with special passes issued to 
them. You should familiarise yourself and have posted on the 
Doormen's Bulletin Board a complete list of such personages, so 
that in case they ask for admission not having in their possession, 
at that particular time, their passes you can take care of them. 
Special passes signed in red ink are issued to a small group of in- 
fluential persons, who are entitled to be passed in any entrance to 
the theatre and be seated ahead of any group of persons who might 
be waiting for admission. 

Your attention is called to the fact that there is one silver 
engraved pass issued by this organisation to a man who was very 
instrumental in the success of this organisation. This pass is not 
frequently presented, but the bearer of this pass and members of 
his party are entitled to every courtesy and preference in seating. 

In all cases of monthly or yearly passes a broad view should 
be taken by the Manager in deciding cases, keeping in mind that 
it is much better to err greatly in favor of a patron or group of 
patrons than it is to fail to render any courtesy to which any patron 
or group of patrons is entitled. 




[56] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Budgetary Qontrol 



"E have adopted budgetary control as a means of aiding 



VV our organisation and our theatre managers in the control of 
the expenditures for the various items which enter into the opera- 
tion of a theatre. 

The budget is a very effective tool to assist the theatre manager 
in the control of expenditures in proportion to the receipts and 
attendance at his theatre. It is of necessity based upon standards 
which have grown and developed out of past experience at his 
theatre and compared with other theatres under similar conditions. 

The use of the budget may be likened to the chart of the 
mariner who starts out on a course which will lead him to his desti- 
nation. His course is very definitely charted for him with the idea 
that he will follow so far as possible this prescribed course and reach 
his destination by the most direct route, and with the least mileage. 
If by reason of storms, ice fields, or other conditions which make it 
necessary for him to change his course to meet these new conditions, 
it is expected that he would be so backed by his judgment and ex- 
perience in travelling this course at previous times. 

At the end of the trip it will be found that he has taken more 
time and has travelled a farther distance as a result of overcoming 
conditions which could not have been anticipated. The skill with 
which he meets these new conditions will measure his ability as a 
pilot. 

In the same manner a budget is an estimate of the necessary 
expenditures to meet anticipated conditions so far as is possible. 
Every item is included, classified, and distributed in proper manner. 
It is expected that the budget will be adhered to as closely as pos- 
sible if the anticipated conditions match the actual experience 
which is encountered. 

The budget is a guide and operates only for the purpose of 
assisting the theatre manager in meeting conditions as they arise. 




[57] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



From time to time new and unexpected situations will of necessity 
have to be met and overcome, and the skill of the manager may be 
definitely measured by the way in which these new situations are 
overcome. 

The budget is a most effective tool of management. We realise 
that, at the best, it is only the shrewdest estimate. When deviations 
from the budget expenditures are necessary the manager should be 
willing to place himself in a position to ^defend and justify his 
actions and expenditures in meeting each new situation as it arises. 
By doing so he will not only become more effective as a manager, 
but will also definitely aid in the preparation of new budgets for 
future conditions backed by the sound practices of the past. 




[58] 



BALABAN fe? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



.Accountability For, Qare and 
Safeguarding of Funds 

THE manager is personally accountable and responsible for 
the care and safeguarding of all moneys received at the box office, 
reserve silver fund, and petty cash fund. 

Receipts are properly recorded and checked against ticket 
sales by the cashier, and these accounts are checked, summarised on 
a report by the treasurer of the theatre, and finally submitted to 
the manager for his careful checking and information before they are 
forwarded to the executive offices. These reports must be in the 
executive offices by 10:00 A. M. each morning. The deposits are 
made up by each individual cashier who makes out duplicate deposit 
slips. The deposits are checked carefully by the treasurer and are 
placed in money sacks sealed with the theatre seal. These deposits 
are collected daily by an express company and sent under armed 
guard to the bank. The bank returns the duplicate deposit slip 
bearing the endorsement of the bank with the bank book, and these 
duplicate deposit slips are forwarded to the executive offices. 

Each theatre is allowed a fund known as the Reserve Fund 
for the purpose of keeping on hand an adequate supply of silver for 
making change at the box office. This fund should be checked at 
least twice each week by the manager, and the manager should 
require a daily accounting by the treasurer of this fund on forms 
provided. He should not sign or initial this report which ultimately 
is sent into the executive offices until he has carefully examined it. 
Experience in the operation of your theatre combined with the 
various price changes and the rate of attendance at your theatre 
will determine the standard quantity of silver in the various de- 
nominations necessary for the efficient operation of the box office. 

In the transport of moneys to and from the box office every 
care and precaution should be taken in order to protect that money 
from theft of any kind. We have made it a practice of having a rep- 

[59] 



B A L A B AN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



resentative of the Police Department present at all such times, and 
one other member of the theatre staff. It is best to have this trans- 
port accompanied by not less than three persons, and you are cau- 
tioned that these three persons should not walk in a group, but 
should be scattered, preferably one preceding, one following, and 
one on the right or left side at intervals of twenty to thirty paces 
if the conformation of the building permits. 

When the money is finally deposited in the treasurer's room 
a member of the Police Department should be kept in constant 
attendance until all funds are deposited in the safe and the safe 
securely locked. All doors leading into the treasurer's room should 
be equipped with safety burglar chains, and no door opened under 
any circumstances until proper identification of the voice by the 
treasurer or cashier inside, answering and giving the name of the 
person wishing entrance. 

In each theatre a proper method of handling funds is decided 
upon and prescribed in writing, and any failure to comply with this 
plan will be considered gross negligence on the part of the manage- 
ment. 

The petty cash fund is charged to, and is the direct responsibil- 
ity of the house manager. This fund is entrusted to him to cover 
emergency and other trivial expenses which he might have in 
connection with the proper operation of his theatre. Any loss or 
shortage in this fund is to be made up from the personal funds of 
the manager. 

We have had difficulty in the past in the cashing of checks, 
and we have prescribed that the petty cash fund be used for that 
purpose. Unless the cashing of checks is carefully controlled you 
will find that most of this fund will be consumed each week for 
that purpose; therefore, it is to your benefit and interest to limit 
the cashing of checks except in cases of emergency. 

Should all the petty cash fund be consumed in any one week, 
and it should become necessary for you to draw on your reserve 

[60] 



BALABAN &> KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



fund for the purpose of incidental expenses, you should when 
possible receive the approval of the comptroller or the supervisor 
of theatre management. 

There are certain members of the theatre staff that should 
be under bond, and it is the responsibility of the theatre manager 
to see that the proper bond applications are filled out in duplicate, 
and forwarded to the executive offices for the following positions: 
manager, assistant managers, treasurers, cashiers, and night watch- 
man or chief janitor whichever is on duty in the absence of the other 
bonded employees. 




[61] 

BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Tour Theatre with Relation to State 
and VYCunicipdl -Authorities 

STATE and municipal authorities have a very definite control 
over certain parts and functions of your theatre, which are out- 
lined and specifically laid down in codes and laws. It is to your ad- 
vantage and very necessary for you to know thoroughly the pro- 
visions relative to motion picture theatres. Fire ordinances, health 
ordinances, building codes, state labor laws, and state compensa- 
tion laws are the five primary divisions. You should have as a part 
of the theatre manager's library, copies of the fire ordinances in 
their entirety, of the city health codes, and the city building codes. 
Provisions of the city fire ordinances are exacting and very necessary 
and should have your very careful attention, for they have been 
drawn up for the protection of those who attend our theatres, and 
indirectly that is a means of self protection for us when we have 
completely complied with them. 

With reference to the building code it is very important that 
any changes or alterations in your building are brought before the 
building commissioner for his approval and sanction. It will many 
times save a great deal of expense by bringing various changes to 
his attention before contracts have been let. This applies particu- 
larly to ventilating equipment, air ducts, plenum chambers, etc. 

The Health Department is continually publishing bulletins for 
the purpose of meeting contingencies with regard to health condi- 
tions in the city. You should be sure that you are on the mailing 
list of the Health Commissioner and that you receive copies of all 
of the bulletins published by that department. 

In Illinois, the state labor laws prescribe that no persons 
under sixteen years of age are to be employed in any capacity in or 
about a theatre. With reference to female employees, the state law 
prescribes that they must not work more than eight hours a day in 

[63] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



or about a theatre, and their time must be kept on individual and 
separate time cards. 

There are also state laws governing compensation of employees 
should any of them be injured in our service. This is generally 
taken care of through an insurance company, but you will find it 
to your advantage to know the provisions of this law. 

All of these various departments mentioned are represented 
from time to time by inspectors who will present their credentials, 
and call upon you for the privilege of inspecting your theatre for 
violation of any or all of the provisions pertaining to their depart- 
ments. You must realise that the friendship and co-operation of 
these inspectors is highly desirable, and look upon their visits as a 
means of protecting ourselves should any calamity of any kind 
overtake us. Co-operate with them and be very desirous of satisfy- 
ing them to the minutest detail when it is possible. 




[64] 

BALABAN 5? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



^3he Organization Guilder 

IN concluding we want to impress upon you again that THE 
SPIRIT OF THE MANAGER AND THE EXAMPLE 
SET BY HIM IS THE STRONGEST ELEMENT WITHIN 
ANY THEATRE ORGANIZATION. A manager to be a sue 
cessful manager must appreciate his dual responsibility, on the one 
hand responsible to the organization by whom he is employed, and 
on the other hand the responsibility to those of his organization 
who by their efficient and good work are making him a successful 
theatre manager. In order to live up to both of these responsi- 
bilities it is only necessary that a manager be true to the principles 
that actuate real true men. He must be willing to share the responsi- 
bility for the problems of his entire organization. When mistakes 
occur regardless of what portion of the house or what subordinate 
may be directly responsible, the manager must appropriate the fact 
that in the eyes of the executive office he alone is responsible. He 
must never be guilty of transmitting directly to his employees any 
criticism or reprimand which he had received from any of the 
executives of this firm. In brief, he must not be guilty of passing 
responsibility. 

Each organization reflects the characteristics of its manager, 
and many times it magnifies the weaknesses of the manager. We 
want you to appreciate the fact that you are the dynamo, you are 
the energy which must permeate your organization from the most 
important position to the lowliest. You must expend excess energy 
in order to develop your organization to the point of meeting its 
daily obligations in the performance of its duty. 

Your organization is composed of a group of individuals, and, 
as individuals they have the right to be considered as intelligent and 
necessary parts of your machine. With regard to questions and 
difficulties which may arise you must solve them justly, keeping in 
mind always that each person in your organization is entitled to 

[65] 



BALABAN 6* KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



individual consideration. No iron bound rule has ever been justly 
applied to every individual case. Good management is not a fabric 
composed of iron bound rules, but rather a systematic order bind- 
ing individuals together through relationship rather than herding 
them on to an objective by severe and unbending rules. Your success 
in this business is dependent upon your ability to obtain results 
from the man power placed in your charge. 




[66] 



BALABAN &> KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



THE usual program in our theatre consumes about two hours 
to two hours and twenty minutes for its presentation. Great 
economies can be effected by careful adjustment of program to fit 
in with the working schedules of members of various organisa- 
tions assigned to your theatre. Performances which are permitted 
to run over time will result in large additional sums being expended 
on musicians, operators, and stage hands in accordance with 
agreements with their organisations. The exact cost of operating, 
with a program running over the schedule time is a matter which 
can be arrived at by a little thought and study on your part. You 
are not expected to make drastic changes in your performance 
without first consulting the Production Department. Special 
care must be taken in recommending changes in or offering criticisms 
of the musical part of the production, as this part of our program 
has been selected and rendered by the conductor, who is expected 
to be a trained showman and a skilled musician. 

There are occasions that demand prompt action on your part 
in receiving or making temporary changes in the program for one 
performance only, such as lateness or sickness of an artist, inability 
to make a set within the time allowed, or the failure of stage equip- 
ment to function properly. It is an age worn custom and practice 
of theatre management to resort to any means in order to prevent 
the interruption of the program. You are cautioned in making such 
changes, to notify the conductor, stage manager, and operators of 
such action. 

The addition or elimination of short film subjects for the purpose 
of having your deluxe performances start at specific times is 
very bad practice and should never be resorted to without obtaining 
the permission of the Supervisor of Theatre Management. 




Shows 



[6 7 ] 



B A L A B AN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Entertainment 

In the last analysis, our entire organisation has been assembled 
for the purpose of presenting unexcelled entertainment. In de- 
veloping this type of entertainment, it has been necessary to have 
within our organisation men who have acquired that quality 
generally referred to as "showmanship." Under our present scheme 
of organisation, it is not essential that a theatre manager be a 
finished showman, but he will continue to become more valuable 
in proportion to the amount of showmanship acquired. This quality 
can best be acquired by contact with and observation of men 
who have proved their skill as successful exhibitors and producers. 
With this in view, your attention is called to the essential parts 
which comprise a performance. 

Films 

As motion picture exhibitors, your primary attention is 
centered upon the film portion of your program. Film subjects may 
be classified under the headings of: 

Feature pictures 

Comics 

Weeklies 

Digests 

Scenics 

Novelties 

Trailers 

Feature pictures, as the name implies, are the main attractions 
in your programs. They are always complete stories which may 
have their plots centered about happenings of human interest, 
history, fiction, or modern life. These stories may be either tragedies 
dramas or comedies. Feature pictures generally range from four to 
twelve reels in length, requiring forty-five minutes to two hours' 
running time. 

Comics have their appeal through their humorous or laugh- 
creating effect upon an audience. These subjects are never more 

[68] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



than two reels in length, and in most cases, are composed of one 
reel, requiring from seven to twenty minutes running time. Comics 
do not generally adhere very closely to a plot, and some of them are 
enacted by real people, while others are merely animated sketches 
of the cartoon character. 

Weeklies derive their name from the fact that they were 
originally circulated once each week, but at the present time, new 
reels are released twice a week. They are picture -stories of the 
current events and topics of the day. They may be either one or 
two reels in length, requiring seven to eighteen minutes running 
time. 

Digests are seldom more than one reel in length and are com- 
posed of the printed bits of humor which have appeared in recently 
published periodicals and newspapers. These films are released 
weekly through film exchanges. 

Scenics have for their purpose the portrayal of beautiful bits 
of landscape appealing to the artistic taste, or the presentation of 
natural phenomena for educational purposes. Scenics are from 
one to three reels in length, requiring at times as much as thirty 
minutes for their exhibition. 

Novelty films comprise short subjects which appeal only to 
the sense of curiosity. They are of necessity short — never more 
than one reel in length — and their value from an entertainment 
standpoint is always open to question. 

Advance trailers on feature pictures are generally furnished 
you by the film exchange which will supply you with that feature 
picture. All other trailers have their origin in our own publicity de- 
partment and have for their object the exploitation of coming 
attractions or explaining institutional policies or practices. As 
trailers are purely an instrument of the publicity department, 
their use should be governed by the wishes of the manager of that 
department. 

[69] 



BALABAN 6s? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



You are expected to maintain a sufficiently close observation 
of the screen effects produced to satisfy yourself that these effects 
are in accord with our standard. Pictures should not be run too 
fast or too slow. Any deviation from the proper speed will detract 
from the effectiveness of the exhibition and interfere with the 
rendition of the musical accompaniment. The pictures should not 
be too light or too dark. They must be properly framed. Our 
audiences will not hesitate to call attention to the latter defect. 
During your initial inspection of the picture, you will observe the 
condition of the films which have been sent you by the exchange. 
Our position in the field of moving picture exhibitors justifies our 
demands for prints which are in good condition, free from scratches 
and other defects. 

In our theatres, we do not permit a manager under any circum- 
stances to omit purposely any complete unit of a performance or 
any entire reel of a picture after the arrangement of the program 
is finally determined. In any questions arising over films, every 
effort should be made to communicate with and get the approval 
of our film booking department. 

JYCusic 

In view of the fact that the members of our organisation have 
been pioneers in the effort to bring good music to large audiences at 
popular prices, we have the desire to emphasise the necessity for 
each of our managers giving careful thought and study to this 
feature of his programs. We realise that most of our managers are 
not skilled musicians, but with sufficient keenness and intelligence, 
they will be able to sense the reaction of the audiences to the 
character of the musical programs presented. 

Motion pictures without musical accompaniment lose much of 
their effectiveness. Therefore, in order to add to the pleasure of 
viewing motion pictures, we have formed the practice of scoring all 
film subjects. This practice is known as "cueing." The fundamental 

[70 1 



BALABAN &? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



principle underlying cueing is the harmonising of the emotional 
appeal of the music to that of the particular scene in the picture. 
Good cueing has the same effect in emphasising the particular 
scenes in a picture as the underlining of important passages in a 
printed story. An authority on this subject has stated that "a 
picture is scored well when the music adds to the atmosphere of 
that picture to such an extent that the audience's interest in the 
story is so aroused that they are not consciously aware of the mu- 
sical accompaniment.' 1 

If this concept is to be met the changes in the music from 
one piece to another must be scarcely noticeable. The music must 
be well timed to conform to the proper speed for running the 
picture. It should be free from abrupt "finishes." Special atten- 
tion is given to the proper selection of the music with reference 
to the scenes which will be shown while various parts are being 
played. A good musical score should have an underlying theme 
which will carry throughout the feature picture. In addition, it will 
characterise the individuals appearing in the plot. 

The exceptionally rapid changes in many news reels require 
unusual care in the preparation and playing of the musical score. 
In most cases, the musical score for these is prepared accurately 
with the aid of a stopwatch. As a result you may expect the 
necessary transitions to occur promptly with the appearance 
of the titles. 

Although a musical score may be excellent, it will lose a part 
of its effectiveness if repeated too often at your theatre. 

Practically all of the thought in the preceding paragraph is 
equally applicable to the organ. In addition, the organist has a 
great opportunity to inject personality and individuality into his 
interpretation of the program. 

[71] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Improvising 

Too often we find organists accompanying pictures without 
following the prescribed musical score, improvising from time to 
time in such a way as to distract and confuse the audience who have 
been educated to expect good music accompanying the picture. 
Organists or conductors must be very mindful of the fact that they 
are playing to a mixed audience, and that in the majority of cases 
popular songs or ballads are much more desirable than the straight 
classical numbers. It is always a great asset to a theatre to have an 
organist or conductor who is versatile, and plays the classics 
equally as well as the lighter popular numbers. 




[72] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Stage Productions 

AS a result of our particular style of entertainment, the pre 
-/jL duction department has become a most vital part of our organi- 
sation. This department has the problem of furnishing our musical 
stage presentations, which are the high lights of our weekly per- 
formances. This department is under the control and supervision 
of the art director, who originates and develops the underlying 
ideas of each of these numbers. The component parts of any stage 
production may be divided as follows: 

Motif 
Talent 
Settings 
Lighting effects 
Music 

For the purpose of explanation, we will discuss each of these 
parts separately. 

The motif is that thought, plot, or impression which the pro- 
ducer desires to convey to the audience. The motif is the entire 
reason for the production. This idea is carefully selected because 
of its appeal to our audiences. 

It is by the very careful selection of talent that the idea of 
our motif is visualised or expressed to the audience. We maintain 
several persons in our Production Department, who do nothing 
but watch the selection of talent for our stage numbers. Too often, 
it is so easy to criticise the voice or personality of the singer, when 
the manager does not appreciate the great difficulty of getting the 
proper voice or the person of proper appearance to enact any 
particular role. 

The greatest advance in recent years, in connection with 
the stage, is the type of stage settings. In earlier days, many 

[73] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



performances were enacted without the assistance of settings of any- 
kind, but today we depend upon our stage settings to emphasise the 
atmosphere of our stage numbers. Scenic artistry is today a pro- 
fession, calling for years of study and a high degree of training. 

As a result of elaborate settings great progress has been 
made in recent years in the use of lights of various colors to in- 
tensify the production. This phase of stage production has been 
capitalised by our organisation to the utmost, and today we have a 
reputation which we feel we must maintain. 

The musical part of a stage specialty serves the purpose of 
unifying that particular number. It is our means of bringing out the 
continuity of the underlying theme. This musical arrangement is 
generally the work of the Music Director. Our careful attention to 
this phase of stage presentation is the reason for our stage special- 
ties having reached their present plane. The part taken by the 
orchestra in any stage presentation may differ from time to time 
depending upon the thought we desire to express to our audience. 
If a Musical Specialty is built around a motif, which has for its 
object a musical thought or idea, then the musical accompaniment 
becomes the major part of the performance and stage work merely a 
means of illustration. In the second case where the musical specialty 
has for its object the presentation of singer, historical scene, or 
novelty number, then the orchestral accompaniment becomes 
secondary, and merely adds to the atmosphere of your stage presen- 
tation. 

The Overture has for its purpose, a presentation of selected 
music, which is definitely designed to appeal to the musical appreci- 
ation of our audience. We present an added attraction to many of 
our patrons by playing our large and specially selected orchestras 
in these overtures. An overture may be composed of selections of 
classical or popular music, medlies of folk songs or melodys, or 
seasonable selections. These variations are purposely introduced 
to meet the tastes of our various patrons. 

[74 1 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Qomplete (Program 

The Art Director and members of his staff, arrange for the 
presentation of various parts of our programs. In most cases the 
Theatre Manager will have the opportunity to express his thoughts 
and make recommendations. He must never lose sight of the fact 
that these members of the Production Department hold their 
positions, because of their ability as showmen, and if recommenda- 
tions which the theatre manager makes are not carried out, he must 
be broad enough to accept the ideas of the Production Department 
without resentment in the matter. 

In the arrangement of programs, we are guided by the desire 
to present the proper appeal, contrast, emphasis, continuity, and 
balance. It is necessary to present variety in the 1 "appeal" of each 
performance to meet the tastes of mixed audiences. "Contrast 1 "' is 
brought out through the routing of the individual numbers to' 
gether with the musical score during the few moments of transition 
from one part to another. "Emphasis" is obtained through the posi- 
tion of a number with reference to the entire program. In the devel- 
opment of our particular style of performance, we have found that 
the most emphatic position is that which immediately proceeds the 
feature picture. The "Continuity 11 of the program has a two-fold 
purpose; first, the continued and uninterrupted presentation of the 
numbers which is accomplished by the close co-operation of the 
conductor, stage manager, and operator; and second, maintaining 
continuously the attention of the audience to our entertainment 
which is accomplished primarily through meeting the conditions 
above stated and the proper program arrangement. "Balance 11 is 
the term used to express the proper arrangement of the elements of 
pathos and comedy, the classical and the modern, the serious and 
the frivolous so that any person seeing part of our program is more 
likely to have been pleased. 

During the initial performance of a stage production at your 
theatre, you should observe it carefully with a representative of the 

[75] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



production department, so that you may profit by his criticism and 
corrections. After the performance has been perfected and turned 
over to you, it is your duty, through careful observation, to prevent 
any indifference in its presentation. You should never assume the 
responsibility of altering or revising any stage number, without 
first receiving the approval of the Production Department. 

In our theatres we have not set the precedent of handing 
flowers over the footlights to an artist or performer. We caution 
you against taking this responsibility at your theatre. 




[76] 



BALABAN §? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Projection 

PROJECTION, as we know it today, covers a very large field. 
To go into the details of projection and kindred subjects, would 
require a great amount of time, and the treatment would be very 
technical. Realising that such a work would be cumbersome, IT IS 
NOT OUR IDEA TO DO MORE THAN RELATE A FEW 
FACTS CONCERNING THE PRACTICAL CHECKING UP 
OF THE PROJECTION IN A THEATRE BY THE MAN- 
AGER. There are several very fine treatises on the market dealing 
with the technical side of projection, and we recommend that each 
Manager obtain one of these and study it diligently. 

Presentation of a feature picture and the projection of a film are 
entirely different in their meaning. The presentation of a feature is 
a combination of projection, the proper synchronisation of musical 
accompaniment to the speed of the picture, the physical surround- 
ings, building, auditorium, etc., and the proper lighting of the audi- 
torium, together with the general atmosphere of the Theatre. 

Primarily we are here concerned with the projection of the film 
— the mechanical and electrical process by which we get the magni- 
fied images upon the screen, through the use of the film, electric arc, 
a combination of lenses, and a mechanism. We will not take the time 
to describe the equipment necessary to accomplish this, but will go 
right into a discussion of faulty conditions which are many times 
encountered. An effort will be made to explain briefly the various 
causes, and in some cases a general remedy. 

Eye Strain 

Eye strain in theatres may be attributed to any one or combina- 
tion of the following: poor definition, poor illumination, too large 
a picture, glare spots and flicker. 

[77] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Poor Definition 

Lack of sharp definition tends to cause eye strain in exactly the 
same way that the third or fourth carbon copies made on a type- 
writer are hard to read. The difficulty lies in the fact that the picture 
is out of focus. The absence of proper focus may be due to a poor 
lens, or a wrong optical combination of lenses. Very oily, dirty, 
damaged, or scratched film may cause it. 

Poor Illumination 

Poor illumination means that there is not enough light upon the 
screen to properly contrast the light and shadowy spots which 
actually form the picture. More light is what is necessary. This may 
be accomplished by changing the type of lamp, the carbons, increas- 
ing the amperage, or by changing the condenser combination. 

T5oo Large A Picture 

Due to the very large size of the picture or the nearness of the 
eye to it, the eye must travel over a wide surface in following the 
action. It can readily be seen that this causes eye strain. Also under 
the above conditions the picture will appear out of focus to the 
close observer. 

Glare Spots 

When we speak of glare spots we do not deal directly with 
projection, yet it is proper that we discuss them here because they 
result in eye strain and serve as a distracting influence to the patron. 
A glare spot is a relatively small spot which is highly illuminated as 
compared with its surroundings or with the screen. Glare spots 
might be exit lights, lighting fixtures, or a spot of reflected light. 
The eye is attracted to light; therefore, it requires concentration on 
the part of the observer to look continually at the picture and not 
have his gase distracted by a bright spot of light within his range of 
vision. Reflections from fixtures, orchestra pit stands and chairs, 
musical instruments, piano or organ consoles should be carefully 
guarded against. 

[78] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Flic\er 

Recurring flashes of light and darkness will be perceived by the 
observer in the form of a "flicker," a term with which we are all 
more or less familiar. There are several causes for flicker. It might 
be caused by the alternate opening and closing of the lens by the 
revolving shutter of the projector. A screen never produces flicker; 
the efficiency of a screen determines the amount of light which can 
be properly used. Any brigher light or higher amperage will cause a 
semblance of flicker, but it is not the screen. If these flashes of light 
and darkness come too far apart (if the picture is run too slow) or if 
they be out of proportion one to the other, then the eye will per- 
ceive a flicker. Should the picture have been taken very slowly of 
very rapid motion then in the projection of that film at normal speed 
you will be conscious of flickering. Flicker is very serious in that it 
produces an eye strain, which in the early days of motion pictures 
kept many away from theatres. 

Scratched or Damaged Film 

Great damage of film is caused by unintelligent handling of the 
film, such as: lack of care in the adjustment of the projector, im- 
proper lining of the two elements of the rewind, too rapid rewind- 
ing, and improper storing. Damaged film of any nature cannot pro- 
duce good projection. Scratches in the emulsion of the films are 
generally caused during rewinding when one reel is slowed up and 
the other permitted to revolve rapidly for the purpose of tightening 
the film on the reel. Scratches cause a diffusion of the light passing 
through the film and it results in poor definition and a light picture. 
Injury to sprocket holes is generally caused by undercut or hooked 
sprocket teeth. This causes a jumpy picture and is responsible for 
many breaks. 

Improper Patching 

Film repairing should under no circumstances be done by any 
other than very reliable and competent projectionists. Improper 

[79] . 



BALABAN &? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



patching becomes evident in unnecessary breaks and altered con- 
tinuity of the picture. This is an important point for the manager to 
watch. 

Distortion 

The viewing of the picture from very heavy side angles causes 
distortion and the reasons for this should be thoroughly understood 
by all successful theatre managers. From a seat directly in front of 
the screen the eye views the figure with full width in relation to its 
height. As you move further to the side the height of the figure 
remains the same, but the width becomes foreshortened, hence the 
resulting distortion. You may improve this condition somewhat by 
moving the screen back, away from the audience. Also when you 
realise that the figures on the screen are magnified, the foreshortening 
of any one dimension, such as width, also magnifies the distortion. 
Therefore, this type of distortion may, in a measure, be improved 
by keeping the picture as small as possible, within the limits of good 
visibility and by moving the screen back as far as possible. 

Over "Speeding 

Over-speeding projection produces a ridiculous, jumpy, rapid 
and mechanical-like motion of the characters, rather laughable at 
times. It is extremely annoying to a patron seriously interested in 
the picture and many titles cannot be read, thereby breaking the 
continuity of the story. Over-speeding is practiced by many 
managers and operators when they find that they are running 
"over" on the schedule. Regardless of the reason, the practice is 
not to be resorted to and should not be tolerated in properly 
operated theatres. 

We have found that no feature picture should be run at "less"' 1 
than "90" or more than "95. 11 In comics it is at times permissible 
to run them as fast as "100." Nature scenics may be run as low as 
"85 " without producing detrimental effects. Sub-titles and trailers 

[80] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



should be so timed that they remain on the screen sufficiently long 
for a slow observer to read them through one and one-half times. 

Keystone 

The distortion of the outline or edge of the picture due to the 
fact that the projecting lens is out of line with the normal to the 
picture screen is generally referred to as the "keystone effect. 1 ' 
The keystone may not actually affect the clarity or definition of the 
picture, but is annoying because it gives the impression of an 
"unfinished job. 11 The picture should be rectangular. It can be made 
rectangular or nearly so by filing the aperture plate or a re-adjust- 
ment of the screen with reference to the projecting lens and by 
proper "masking in. 11 

(Dar\ (Picture 

A dark or poorly lighted picture may be caused by any one of 
several conditions; the thickness of the film stock, improper burning 
of the arc, pitted conditions of the condensers, or the use of wrong 
carbons. Regardless of the cause it is extremely annoying, especially 
to those patrons sitting in the rear of the house, and every effort 
should be made to determine the real cause, and then correct it. 

(Direct or (Reflected Light 

Direct or reflected light on the screen from auditorium fixtures, 
domes or coves will be found detrimental to good projection. It 
is obvious that when any light, other than that from the projecting 
machine strikes the screen, proper definition and illumination are 
greatly hampered. 

"Jumpy Pictures" 

Jumpy pictures are generally caused by the mechanism of the 
projection machine, or by damaged sprocket holes in the film. The 
effect of watching a jumpy picture is the same as trying to read a 
book or newspaper on a rough riding train. 

[81] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Streamed Pictures 

Many times pictures will have vertical streaks. These streaks 
may be either light or dark. In cases where the streaks are light they 
are invariably due to the film; either defective workmanship in 
producing the film or the film has been damaged during previous 
showings. When these streaks are dark, they may be caused by the 
revolving shutter being "out of time" or in some cases they may be 
the result of poor workmanship in printing the film. 

Qoncluding 

Our entire industry has grown out of the demand for the repro- 
duction on the screen of motion pictures, and today the picture 
portion of our program is still the most important. Other musical 
numbers have been added, but they have not been able to replace 
the feature picture and its position of importance in our perform- 
ance. THE THEATRE MANAGER SHOULD CONTINU- 
ALLY STRIVE TO EQUIP HIS PROJECTION BOOTH WITH 
THE BEST POSSIBLE EQUIPMENT SUITED TO HIS PAR- 
TICULAR THEATRE, and the personnel of the booth should be 
carefully selected for their skill and knowledge of projection. 

Projection, as we know it, is still in the stage of development, 
and it is a continuous study for the up-to-date theatre manager of 
today. Many fine articles are published frequently by the Eastman 
Kodak Company and by the General Electric Company on the 
subject of projection or other allied subjects. We do not expect 
any of our theatre managers to be skilled or finished projection- 
ists. However, we do demand that they have a sufficiently inclusive 
working knowledge of projection so that they can intelligently 
criticise defective projection, and can, in many cases, be of assistance 
to the operator in solving projection problems. 

The projectionist from the booth is handicapped by his dis- 
tance from the screen, and in order that he may realise the effects 
he is producing on the screen, we have provided our kinobooths 

[82] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



with field glasses. In all cases where kinobooths are provided with 
field glasses, the manager should demand that they be constantly- 
used by the projectionist and hold him strictly to account for 
screen effects. 

We believe it will be found beneficial for the manager to check 
the projection each day by taking one of his operators — preferably 
his chief operator — and observing the screen effects from seats in 
the first and second row on the main floor. Many of the effects 
described are not apparent from the rear of a large auditorium. 

Though we have said little about the screen, it is of vital im- 
portance that it be properly selected and maintained. Several 
standard works on projection treat on the subject of suitable 
screens for auditoriums of different shapes. Satisfy yourself that 
you are using the proper screen for your particular theatre. Then 
maintain that screen by proper cleaning, and resurface with some 
standard treatment at least twice a year. 

You, as a theatre manager, are engaged in the business of 
properly presenting the motion picture. Therefore, there is no 
detail too small to warrant your careful attention in perfecting the 
presentation so that it meets with the approval of the general public. 




[83] 

BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



-Advertising, Publicity and 
Exploitation 

PUBLICITY is one prominent factor of showmanship, and, as 
the moving picture business has developed throughout the 
country, it has been greatly aided by this means in building itself 
up to the fifth ranking industry of this country. There is practically 
no other line of endeavor so dependent upon publicity as our 
particular business. Our commodity is not ordinarily classed in 
the field of physical necessities. However, there is an inherent 
desire in all of us to be entertained in a manner which meets with 
our desires and ideas. With this in view, our publicity is directed 
toward appealing to the populace for the purpose of creating a 
desire to visit our theatres. Publicity as used by our organisation 
may be divided into advance, current and institutional publicity. 

Advance Publicity 

Advance publicity may be classified as follows: 
Trailers 

Newspaper Directory Advertising 

Newspaper Criticisms 

Magazine Advertising 

Newspaper and Magazine Stories 

Posters 

Bill Boards 

Street Car Cards 

Side Walk and Lobby Displays 

Exploitation — Window Displays, Sheet Ballyhoo Demonstrations 

A part of the current program is given over to trailers, drawing 
the attention of your present audience to future attractions. These 
are at times exerpts from the film which is being advertised, or they 
may be carefully worded printed sentences. Most of these trailers 
are arranged by our own Publicity Department. 

[85] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



J^ewspaper Advertising 

Local newspaper advertising is divided into: 

News Stories 
Criticisms 

Directory Advertising 

You have been furnished with scrap books for the preservation 
of criticisms and directory advertising. The scrap book is the most 
convenient way of filing advertising of this kind, so that it may 
be frequently referred to without being destroyed. This furnishes 
you excellent means of comparison of the various styles and methods 
used in your publicity campaigns. The largest portion of publicity 
expenditures is spent in directory newspaper advertising. It is 
therefore worthy of your study from the standpoint of appeal, 
clarity, and effectiveness. 

"Magazine Advertising 

Magazines, in which advertising is done, may be classified ' 
into national magazines, not founded upon the industry, and trade 
papers which have their reason for existence because of the value 
of their trade items, such as those pertaining to motion picture 
personnel, films, and production companies. In the case of nationally 
known magazines, all the advertising in them is generally done by 
the producing company. We have no control over its character. 
Trade papers as a means of advance advertising approach the prob- 
lem from a little different angle, because of the fact that their object 
is to sell productions to exhibitors and. in turn suggest to these 
exhibitors a means of conducting local advertising in their com- 
munity. Theatre managers will find many bits of authentic and help- 
ful information pertaining to future bookings by a careful reading 
of suitable trade papers. We have established the practice of sub- 
scribing to two of the best trade papers for each of our theatres. 
These merit your careful reading. Magazines that dwell only upon 
items pertaining to film stars, directors, and other persons connected 

[86] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL 



PRINCIPLES OF 



with the film world from the point of journalistic value are of little 
importance to us in conducting our business. 

We have in the past made use of the House Organ, which is 
given free to patrons of our theatres. This House Organ has a three- 
fold purpose; first, to create good will among the people who visit 
our theatres; second, to maintain their interest in our theatres; 
and, third, the general building up of good will toward our 
organization through institutional editorials and announcements. 

Bill Boards, Street Qar Qards, Fosters 

Billboards have for their purpose the building up of local 
advertising campaigns. In large cities theatres or individual organ- 
izations seldom undertake extensive bill board displays. Wherever 
this type of advertising is done, it is generally in conjunction with 
the producing company due to the fact of the very large expense 
connected with this type of advertising. 

Street Car Advertising has proven itself in many cases to 
be very effective. Because of the type of theatres which we operate 
we depend upon appealing to a great number of people of a class 
who ride in street cars. Therefore, street car advertising, whether 
cards appear in every car or a certain number of cars, has proven of 
great value. 

Posters are the final appeal to the prospective patron as he 
approaches the front of your theatre. One or two carefully selected, 
and attractive posters will many times be sufficient where a 
greater number of posters tend to cheapen the exterior appearance. 
Many times posters composed of an assembly of "stills 11 will prove 
more effective than the large printed sheets furnished by the film 
exchange. 

Another very effective means of advertising is by the use 
of posters produced by our own department. This type of poster 
can very easily be made too artistic thereby losing its general 



B A L A B A N 



c? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



appeal. Where they are used exclusively, this form of advertising 
may be overdone. For smaller outlying theatres hand painted post' 
ers may not be economical and greater advertising value may be 
obtained through other methods. 

Hand bills are most generally used by smaller community 
theatres and may be either distributed at the theatre or circulated 
through the neighborhood by paid distributors. 

Sidewal\ and Lobby Displays 

The use of sidewalk and lobby displays for advance advertising 
is usually limited in character. For the most part, these displays 
are given over to the featuring of the current performance. 

Qurrent Publicity 

Current publicity not only includes those items listed under 
advance publicity, but also embraces your attraction border, 
marquee displays, lobby displays, "tie-ups, " with local adver- 
tising campaigns, and occasionally bally-hoo demonstrations. 

An effort should be made to utilise your attraction border 
for concise and appealing phrases concerning your feature attraction. 
We are committed to the practice of exploiting only our feature 
picture, unusual attractions, or our performance in general. 

Occasionally, feature pictures may lend themselves to effective 
exploitation through marquee displays used in connection with 
national holidays, local events, or seasonable suggestions, window 
displays, sheet bally -hoos and "special stunts.' 1 Lobby displays may 
be used to create a seasonable atmosphere, or to create a receptive 
attitude for the anticipated entertainment. Because of the foregoing, 
many question the use of the lobby display for advance advertis- 
ing. Tie-ups carefully thought out and planned with local merchants 
or organizations will many times prove valuable as an aid to your 
box office and a builder of goodwill in your neighborhood. 

Bally-hoo demonstrations are one of the oldest means of publicity 
and in some localities and under certain conditions are still resorted 
to as an effective means of exploitation. 

[88] 



BALABAN 6P KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



In addition, you will find it to your advantage and to the 
advantage of your theatre to link yourself closely with the civic, 
business, social and community life in your locality. 

Whenever your advertising is handled from a centralised 
department, you should endeavor to grasp the point of view of that 
department in planning the campaign so that you will be able to 
report intelligently upon the results obtained. You, being in close 
contact with your patrons, are expected to report the immediate 
results and to sense probable future reactions from the current 
advertising. The above mentioned report is not expected to be 
composed entirely of criticisms, but rather an unbiased statement 
of facts. 

As a very large part of our advertising is directed toward the 
exploitation of our feature picture, it is highly important that 
you view the pictures in advance or carefully study the press sheets 
furnished in advance by the producing company so that thoughts or 
ideas which you may have may be of benefit to the Publicity De- 
partment in the exploiting of this picture at your theatre. 

In order further to co-operate with this department it is 
highly important that you arrange a weekly meeting with the Pub- 
licity Manager. 

In view of the fact that our Publicity Department is composed 
of men with journalistic experience, they are better able to point 
out to you the real news items of the day. Therefore, you will 
submit to it each week a complete list of subjects in your "Weekly" 
indicating those subjects which you are actually exhibiting. 

The trailers are an instrument of publicity and, therefore, 
should be controlled by this department. This can only be accom- 
plished by submitting a list of trailers and the order in which they 
are being run at your theatre as soon as possible after your program 
is set. 

[89] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



(physical Equipment 



OU have been placed in charge of and made responsible for 



JL a magnificent theatre plant. This plant includes a building of 
a distinctive type and hundreds of items of equipment, decorative 
materials, art objects and supplies in great variety peculiar to our 
business. 

Your theatre is no ordinary building. In addition to its utility, 
it is distinctly a place of beauty. The fact that it is a public gather- 
ing place subjects its care and upkeep to influences, rules and 
restrictions, some of which are beyond our control. In meeting the 
demands of our patrons, we are constantly being influenced by 
our effort to meet their present desires as well as to create new 
desires which we can satisfy. We must conform with the rules as 
prescribed by the municipal departments governing the communi- 
ties in which our theatres are located, such as: Public Health, 
Public Buildings, Fire Department, etc. Our activities require us 
to meet certain restrictions placed upon us and groups of our 
employees by labor organisations. 

We have spent a great deal of time, effort, and money for 
the purpose of identifying all of our property. You have been fur- 
nished with a copy of this record, and will be held responsible that 
no tags are removed from property, that all tags removed by acci- 
dent are carefully replaced, and that no property recorded in your 
inventory will be removed from the theatre without a specific 
order signed by one of the men designated for the transfer of 
property, and in all cases you should receive a proper receipt for 
that article. Whatever new equipment should be allotted to your 
theatre you must make it your duty to see that that equipment is 
properly indentified with the regulation tag and recorded not only 
on your records, but on the records in the general office. Under no 
circumstances is any property to be destroyed or given away or 
otherwise disposed of. You should arrange for transfer to the ware- 




BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



house for all equipment for which you have no further use at your 
theatre. 

We may classify our equipment and portions of our buildings 
according to their use and location as follows : 

i. Auditorium, 
i. Backstage. 

3. Basement. 

4. Lobbies, Foyers, and Corridors. 

5. Exterior equipment: Marquee, fire escape, roof, etc. 

6. Ventilation. 

7. Kinobooth. 

8. Employees' Service Rooms. 

9. Uniforms and expendable supplies. 

10. Equipment necessary for compliance with agreement with 
labor organizations. 

The Auditoriums 

In addition to making our theatres "show places" in the city, 
we desire to have them become models of comfort, safety and 
convenience. 

The splendor and grandeur of our auditoriums and lobbies 
have established a standard of excellence which has surpassed any 
previously conceived. In producing such a standard we have com- 
mitted ourselves to a program from which there can be no deviation. 
Constant watchfulness and unusual care are necessary for the pur- 
pose of maintaining that clean and spotless appearance for which 
we strive. 

We willingly concede the public its right to be critical. By 
the right kind of care we may forestall unfavorable criticism or 
convert it into favorable comment. Absolute cleanliness in every 
place to which the public is admitted will prevent complaints or 
valid claims for damages to wearing apparel caused by faulty clean- 
ing. Gum and candy are particularly fruitful sources of complaint. 
Your cleaning force must be especially careful to see that all traces 
of them are removed. If hazards are present during those periods 

[92] 



BALABAN &? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



when painting and re-decorating are under way, every reasonable 
precaution will be taken to protect the patrons. If the place where 
work is being done cannot be entirely shut off from the patrons, 
they may be warned of the hazard by signs, employees stationed 
there for the purpose, or both. 

The seats in the auditorium are also inspected weekly for 
the purpose of finding any broken parts, sharp projections or rough 
places. This inspection can be accomplished very easily by assigning 
a particular section each day to your first relief of ushers for thor- 
ough and careful inspection, this assignment to be calculated so that 
your entire house will have been covered by the completion of the 
week. Faulty conditions will be remedied immediately to prevent 
possible damage to patrons' clothing. 

The following conditions have been found to cause great 
inconvenience and annoyance to our patrons; seats which have be- 
come loose at the base, arms which have become loose, seats which 
are dry and squeaky, movable chairs out of place in loges or over- 
crowding of chairs, drapes which have become loose from their 
fastenings. Although the periodic inspection serves the purpose of 
bringing these to attention, they may occur between these inspec- 
tions and when discovered should be immediately reported for 
repair and replacement. 

The carpets in the building will be kept in good condition. 
Worn spots, ripped seams or places where there is a tendency to 
roll or bulge at the ends or edges are not alone unsightly, they may 
cause a patron to trip and fall and thus suffer serious injury for 
which we might be held responsible. 

Where drapes are used, you are cautioned to instruct your 
personnel to watch carefully for drapes which have become torn or 
loose from their hangings. These conditions might either obstruct 
the patrons' view of the stage or cause your auditorium to be very 
unsightly. 

[93] 



BALABAN &? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Any items of trash or refuse thrown upon the floor by patrons, 
whether they be newspapers or gum wrappers, boxes, scraps of 
paper, etc., will be collected by the usher nearest them and de- 
posited in a specified place where they will be periodically collected 
by the porter. 

The importance of cleanliness and good condition is such 
that everyone in your service department should feel that it is his 
duty to report immediately any defective condition which merits 
attention. In addition to the regular inspectors, the members of 
your organisation should at all times be on the alert to note any- 
thing which may detract from the appearance of the house. 

For our purpose we are considering the orchestra pit as part 
of your auditorium. It is very important that you watch all the con" 
ditions which add to the comfort of your musicians, such condi- 
tions as the proper placing of the chairs, good lights at the music 
stands, etc. 

Since your musicians all report to and leave the orchestra pit 
when the auditorium is darkened, it is essential that there shall be 
no unnecessary obstructions placed in their path to and from the 
exit. This will serve to minimise any noise or disturbance which 
might accompany their movements in the pit. 

A well lighted music stand and comfortable chair in good repair 
will go a long way to give you a contented musician. 

Too often the orchestra pit is not properly cleaned. Your 
musicians will appreciate clean surroundings and will give you bet- 
ter service as a result. 

Since temperature affects the tones of the stringed instru- 
ments, it is essential that you minimise, so far as possible, changes 
in temperature in the orchestra pit and immediate vicinity. Care 
will be taken to see that all instruments left in the pit over night 
are properly covered. 

You will be constantly on the alert to detect any obstruction 
which may interfere with a clear view of the screen or stage from 

[94] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



any part of your auditorium. Such interference may be caused by 
the arrangement of any instrument, music stand, organ or any 
temporary construction for stage specialties. 

In orchestra pits where music stand lights are arranged on a 
centrally controlled dimmer, you should not tolerate the individual 
operation of any light by any musician. In pits where there is 
no centrally controlled dimmer for these lights, all lights should 
be turned on or off by signal from the conductor. 

Organ lifts will be kept in good repair by the house electrician. 
Care must be taken that the organist upon lowering his instru- 
ment, lowers it to the lowest limit possible and still perform his 
part in the program. 

In those theatres which are provided with orchestra elevators, 
the responsibility for their care is directly delegated to the house 
electrician. This includes all motors and mechanism connected with 
such elevators. 

Care should be taken that, during the playing of the feature 
picture and the stage speciality, the musical conductor lowers his 
pit sufficiently so that musicians' instruments and music stands 
do not become an obstruction in the line of vision of any patron. 

You will familiarise yourself with the various levels used 
during the course of a show, and take steps to verify the under- 
standing which the musical conductor has of the proper operation 
of the pit as controlled by the push buttons on his stand. 

Your attention is particularly called to the very destructive 
habit of some conductors in using the stop push buttons and re 
versing the mechanism too rapidly which causes great strain on 
the mechanism, and might result in burning out some of your 
electrical coils. 

Back^ Stage 

Back stage equipment is handled by men who are members of 
labor organisations. The man responsible for the equipment and the 

[95] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



handling of the same is the stage manager, who in our theatres is 
always the Senior Electrician. 

It is important for you to realise that there is nothing quite 
so apparent to the audience as an evidence of poor management 
than a mistake or an omission on the stage which will interfere with 
or delay the production. Therefore, you will from time to time, 
acquaint yourself with the methods employed by your stage mana- 
ger for maintaining his equipment in the proper condition so that 
you may expect it to function properly when put in use. 

Large sums of money are expended each year in paying over- 
time to members of the stage crew. You are responsible that the 
amount of overtime is kept at a minimum, and your stage manager 
will report to you any contemplated work which necessitates over- 
time. However, you should not depend entirely upon this report, 
but should go back stage each week and question the stage manager 
as to what work requiring extra pay might be expected during 
the coming week. Should the amount of overtime planned seem 
excessive to you, it is your duty to call the production manager 
and obtain his authority for that expenditure. 

It is of sufficient importance to impress upon you here that 
every serious theatre fire has originated and had its source back 
stage. Therefore, every fire ordinance pertaining to the prevention 
of fire back stage should be carefully and tenaciously carried 
out to the letter. Although you are expected to familiarise your- 
self with all of the provisions contained in the Chicago Municipal 
Code of 1922, Chapter XXXI Fire Prevention, your specific atten- 
tion is here called to Articles 7, 8, 9; Sections 1337 to 1380, inclusive. 

Offices and Extra c B s goms 

Your offices will be kept in a manner which is in keeping 
with the sizje, scope, and character of our business. Clean, well 
kept and orderly offices aid in expediting the work of your organi- 
sation and add to the pleasure of working in them. You have been 

[96] 



BALABAN 6? KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



provided with a dictaphone for use in making written communica- 
tions for the central controlling departments and executives. You 
are expected to make full use of this instrument wherever practical 
for inter-office communication. 

Dressing rooms and private rooms for musicians, conductors, 
concertmeisters, etc., will be provided with sufficient furniture 
for comfort, kept adequately ventilated and scrupulously clean. 

Employees 1 toilet rooms and wash rooms back stage will be 
constantly kept in a clean and sanitary condition. 

Basement 

The basement includes the engine room, boiler room, pump 
room, storeroom, coal bins, air passage ways, and passageways not 
open to the general public. It is directly under the supervision 
of the house superintendent, who is responsible for the cleanliness 
and upkeep of that particular portion of the building. 

All motors and generators in any part of the building are 
to be cared for and maintained by the house electrician and all 
other mechanical equipment other than motors and generators will 
be maintained by the superintendent. 

All mechanical equipment including air compressors, pumps, 
vacuum cleaners, and other machinery with the exception of motors 
and generators, will be maintained by the superintendent. Also the 
pipe lines whether steam, hot or cold water, gas, and air ducts shall 
be part of the responsibility of the superintendent. 

You should caution your superintendent and verify, yourself, 
the conditions by periodic inspection trips at least every two weeks 
into out of the way corners, behind boilers, and in coal bins to see 
that these places are kept free and clear from bits of rubbish, oily 
rags and other filth. 

The plenum chambers should be cleaned at frequent and 
regular intervals to remove foreign materials, such as pieces of 

[97] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



candy, scraps of paper, etc. The accumulation of such rubbish in 
these chambers becomes a fire hazard, attracts mice and other 
vermin, and furnishes a source of foul odors. 

Lobbies, Foyers, and Qorridors 

Lobbies, foyers, and corridors have a two fold reason for 
existing. First and primarily they are the means of entering and 
leaving the auditorium with the least possible confusion, and also 
the means of rapid exodus in case of emergency from the auditorium. 
They should be kept as free from obstruction as it is possible within 
the general scheme of decoration and furnishings. Second, they exist 
for the purpose of increasing or giving added comfort and pleasure 
to the patrons of the theatre by their spaciousness and furnishings. 

All furnishings that is placed with its back against a decorated 
wall should be padded or have blocks fixed to the rear legs so as to 
prevent it from damaging that wall. 

Art objects have been carefully selected for their beauty 
and appropriateness and should be so placed that they will be 
reasonably free from damage as a result of the natural movements 
of our patrons. 

In the placing of display frames, care should be taken that 
such frames do not obstruct the free passage of patrons and will not, 
in case of emergency become an obstruction to a hasty exit. 

Your ticket chopper should be located at the entrance door 
so that it will not in any way even partially interfere with the 
entrance of patrons. 

During inclement or cold weather you can assist very materially 
in eliminating the draft coming in through your entrance doors 
by breaking up the direct passage of air from your front doors to 
the inner doors. By this we mean, do not have the ticket takers' 
door directly in line with the front door that is open. 

Your box office equipment is composed of but two machines, 
both equally important in rendering prompt and accurate service to 

[98] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



the public. Your ticket machine should be dusted and cleaned at 
least once each week and oiled at least every two weeks. This duty 
can be properly allocated to the house electrician. Each coin changer 
should be kept free from dust or corrosion and protected as much 
as possible from the weather, being careful that it is left covered 
at night with the cover provided for it. Mechanical defects in 
these machines are generally taken care of by a service rendered by 
the manufacturer. 

In very cold and extreme weather every effort should be made 
to have the box offices as comfortable as possible. Much can be 
gained for efficiency on the part of the cashiers by maintaining 
these box offices warm and free from drafts. 

The lobbies, foyers, and corridors are the parts of the theatre 
that are kept brightly lighted at all hours of the day. Therefore, 
extra effort should be made to keep them spotless and clean. 
Also they are the parts of your theatre which show wear, tear, 
and age quicker than any other. 

Exterior Equipment 

Exterior equipment includes marquee, stud or outline lighting, 
attraction borders, large hanging signs, fire escapes, sidewalks, 
roofs, and house tank. 

The electrical portion of your marquee will be maintained 
by your house electrician. You must be careful to see that rubbish, 
such as odds and ends of wire, cardboard lamp cartons, old rags and 
waste do not accumulate on the top of the marquee. Also after a 
heavy rain storm be sure that your down spouts do not become 
clogged so that your marquee is carrying an extra weight of water. 
After severe snow storms, the snow should be removed before it 
has become solid and much more difficult to handle. 

Your marquee and exterior signs, stud or outline lighting 
are your most conspicuous means of advertising. Therefore, burned 

[99] 



BALABAN 6s? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



out lamps should be immediately replaced if you are to realise the 
full value of this most important advertising medium. In addition 
to keeping the full complement of live bulbs in your hanging attrac- 
tion signs, it is important that the flasher mechanism be in good 
working order. You should, from time to time, consider very care- 
fully the effective result that you are getting from all of the exterior 
lighting, giving careful consideration to the style and color of 
lamp you are using. You may be aided in this by carefully watch- 
ing all other electric signs which come to your attention. 

Fire Escapes 

Fire escapes have but one use — that of furnishing the means 
of emergency exists in case of necessity. Therefore, they should 
be periodically and carefully inspected to detect any deterioration 
which might render them unfit for this emergency use. They 
should be painted at least once each year and the mechanism for 
lowering the last flight to the street should be operated sufficiently 
often to satisfy you that it is in working order. We believe it 
is worth while to make a practice of renewing bolts holding 
counter weights in place at least once each year. 

Every emergency door in your theatre should be opened at 
least once each day and care taken to note that the panic bolts are 
in serviceable condition. 

Attention is called to the fact that icicles suspended from 
ledges, fire escapes, or from any other projections over public 
thoroughfares or courtways are extremely hazardous, and when 
observed should be removed by porters or janitors. 

Sidewal\s 

In very cold weather keep the sidewalks free from ice. 

In addition to the necessary sweeping of the sidewalks you 
should have on hand rock salt and sawdust for the treatment of 
slippery or ice-covered sidewalks which cannot be cleaned by 

[ ioo ] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



scraper or shovel. In portions of the sidewalks where you are using 
mats be very careful that these mats lie flat on the sidewalk. 

<Rgofs 

In summertime inspect the roofs for blisters and see that down 
spouts are kept clear. After heavy snow storms in winter, the 
snow should be removed from the roof. Most of our troubles in the 
way of leaks and the rotting of roofing materials are due to the 
accumulation of soot and dirt around stacks and in valleys. Roofs 
should be well cleaned at least every two weeks. 

House Tanl^ 

In wintertime it is important that the float mechanism should 
be inspected to see that corrosion or rust do not collect and prevent 
its proper operation. There is a steam line extending the entire 
way to the tank along the main drain pipe and care should be taken 
during weather which is below freezing that this line is continually 
open. The tank and its supports must be kept painted. A complete 
painting is usually necessary once each year. 

Uentilating Equipment 

Marked variations in ventilation will lead to the discomfort 
of our patrons. The faintest odor of smoke may cause the nervous 
patron to become hysterical which might bring about a very serious 
and dangerous condition in your theatre. Therefore, ushers should 
be constantly on the alert to be the first ones to detect smoke. The 
ushers who are in a position to detect these conditions are cautioned 
to report the facts at once to the management so that proper correct- 
ive measures may be taken. The equipment for furnishing proper 
temperatures and ventilation is in charge of the superintendent 
and his assistants who will make all adjustments necessary to bring 
about comfortable conditions. 

Ventilation is one of the cardinal points of the patrons' comfort. 
Our organisation gave the first distinct thought and action on the 

[ ioi ] 



BALABAN KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



subject of ventilation for the purpose of greater comfort to the 
theatre-going public. Ventilation consists of three primary factors: 
Temperature, Humidity and Air Movement. 

Temperature in your auditorium is the degree of heat or 
coldness which varies from time to time depending upon the season 
of the year, outside air conditions and the number of persons in 
attendance. Past experience has proven that the proper average 
temperature to strive to maintain is 72 degrees Fahrenheit. However 
during winter months we have found that 70 and 71 degrees is 
very comfortable, whereas during the summer months with very 
high outside temperature when people are clothed lightly, tem- 
peratures below 72 degrees are uncomfortably cool. 

Humidity may be defined as the amount of moisture in the air 
as determined from the reading of the wet bulb thermometer. That 
humidity is important as an element of comfort is due to the fact 
that it increases or retards the surface evaporation of the body. 

Air movement is important from the point of view that we 
should continually strive to eliminate drafts and air pockets. 

You are further cautioned that the ventilation as it affects 
our patrons is not to be judged by isolated complaints which may 
come to your attention; rather you should be guided by the evidence 
of contentment on the part of the majority of your audience, and 
the results shown by the constant checking of the temperature as 
recorded by the thermometers. 

The ventilating equipment of our theatres has been installed 
to provide comfortable and healthy conditions for our patrons and 
to conform to the local ordinances. It is passed upon and approved 
by the local Department of Health. This approval is not only upon 
the general scheme of ventilation, but upon the quantity of air 
delivered into the theatre and the condition of the air in the theatre 
as a result of the operation of the equipment. Any changes in the 
ventilating equipment must meet with the specific approval of the 

[ 102 ] 



BALABAN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Department of Health. You are cautioned against increasing the 
speed of the fans by changing the si2;e of the pulleys, changing the 
location of dampers in the air ducts, and placing any obstruction 
in the incoming air duct. 

The nature of this equipment makes its operation and care a 
highly technical engineering problem. All motors and generators 
which are a part of the ventilating system are under the care of 
and maintained by the house electrician. All fans and other me- 
chanical equipment are cared for and maintained by the house 
superintendent who is also charged with the operation of the 
equipment. 

It shall be your duty to see that the results which we expect 
become a reality. These results are checked by the local Department 
of Health, our patrons, and by others in our organisation assigned 
to that duty. In spite of constant and acute changes in outside 
conditions, our patrons must be guaranteed comfortable conditions 
inside our theatres. This responsibility is so great that it must be 
definitely delegated to the proper persons who are aware of all the 
factors affecting the situation. The daily ventilation log will 
serve as a record of past results and a guide for future operation. 
Too much emphasis can scarcely be placed on the importance of 
proper ventilation if we are to receive the results justified by the 
expenditures on this equipment. 

Kinobooth 

All equipment, mechanical and electrical, in the projection 
room is directly under the care of the Chief Operator. You should, 
by careful observation, know whether the Chief Projectionist has 
his machines cleaned daily and their lenses cleaned at least once 
each week. 

All films must at all times be kept in metal containers pro- 
vided for this purpose. You must be sure that there is a metal 
closed- top container for carbon butts. 

[ 103 1 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Through close co-operation with your Chief Projectionist, 
be sure that the spare parts which are most apt to be needed are at 
all times available in sufficient quantity. It is essential that you 
maintain a current supply and reasonable reserve of carbons. 

It is your responsibility to see that all films and trailers reach 
your booth in sufficient time for them to be inspected and assembled 
and in proper order of exhibition. Before any film can be exhibited 
to the public an official permit must be in your possession. At the 
completion of your last performance at the end of the run, the 
films are again assembled as received from the exchange and re- 
turned in their proper containers with their permits for exhibition. 

During the course of the run of any piece of film requiring 
municipal permit, that permit must be displayed in your box office 
during that entire time. 

Regardless of the inaccessibility of the projection room, you are 
expected to make it a point to visit it at least daily. 

The Municipal Code of Fire Prevention for 1922 prescribes 
safety measures which must be at all times tenaciously carried out. 

Employees Equipment and Service (Rgoms 

We furnish and keep in condition the equipment used by the 
members of our service department. This includes every article 
of equipment necessary for houses of our type. To be assured that 
all equipment is in satisfactory condition, frequent and regular in- 
spections are essential. Do not lose sight of the fact that our pa- 
trons are being constantly impressed by the appearance of those 
with whom they come in contact. 

Certain parts of our theatres have been set aside for use by 
the employees of our service department. The employees are ex- 
pected to make use of these quarters whenever they are off duty in 
or about the building. This prevents their congregating in groups 
in other portions of the building where they may interfere with 
those on duty or annoy our patrons. 

[ 104 ] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



It is essential that these quarters be maintained as clean 
and attractive as possible. Suitable provision is made for the care 
and safety of their personal clothing while the employees are on 
duty. The consideration shown the employees will be reflected in 
their service to our patrons. 

There is another group of rooms to be considered here; rooms 
used by the service or maintenance department in carrying out 
their daily work. 

Rooms such as janitors' closets, storerooms or work rooms 
should be kept scrupulously clean and at all times free from rubbish, 
inflammable, and combustible materials. The accumulation of food 
supplies, lunches, etc., which may be brought in by your employees 
will attract mice and other vermin. In most cases it will be sufficient 
to call their attention to this fact so that the practice will be dis- 
continued. 

Rooms in which cleaning equipment is kept will be inspected 
frequently to see that they are maintained in proper order. Sinks 
should be so thoroughly cleaned that they will retain their good 
condition. Mops, mop pails, scrub brushes, and cleaning rags will 
be thoroughly cleaned before being put away. Mops and cleaning 
rags should be carefully washed, wrung out and hung to dry. If 
they are put away in a wet and dirty condition they will soon be- 
come sour and the resultant odor will appear in any room where 
they are subsequently used. In all theatres we use an evaporating 
disinfectant block for the purpose of maintaining these service 
rooms in a wholesome and fresh condition. It is an inspiration to 
those who have to use these rooms to take pride in the up-keep of 
them if you do your share in keeping them painted in a light, clean 
looking color. 

Uniforms 

The practice of uniforming employees is a heritage from the 
past when all persons connected with a household or estate wore a 

[ 105 1 



BALABAN & KAT2 THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



distinctive livery or mark of allegiance. In our theatres, uniforms 
are worn by the employees in the service departments to provide a 
means for identification by our patrons. We take pride in the quality 
of our service. We want our patrons to know that they can at any 
time approach anyone of our uniformed employees and receive 
intelligent information, accurate guidance, or other courteous 
service. 

Our service employees must present a uniformly good appear- 
ance. Their uniforms are designed not only to accomplish this, but 
also add to the atmosphere of our theatres. 

Although the manner of dress for theatre managers and their 
immediate associates is not always prescribed, it should be of a 
style suited to their position and the nature of their duties. 

Even a comparatively new uniform in good repair will many 
times look old and obsolete when not properly fitted to the em- 
ployee. You will find that it is economy for you to keep all of your 
uniform equipment in the best possible repair. In uniforms, par- 
ticularly, minor defects which are apt to pass unnoticed, detract 
materially from a good appearance and if repaired in time they will 
save money and general wear and tear on that uniform. You are 
well aware that the appearance of a person is vitally affected by 
the condition of their extremities; hat, shoes, gloves, hands. Caps 
are quite an expensive item in uniforming organizations as large as 
ours. Therefore, you must give some attention to maintaining them 
in a fit and wearable condition. Although we do not furnish shoes 
as a part of our uniform, we do prescribe the color which shall be 
worn and insist that they be kept in the proper condition. 

Gloves are furnished in all cases to those employees who are 
required to wear them while on duty. Where fabric gloves are worn 
you will be ever watchful to see that they are clean, dry and free 
from rips and worn finger tips. 

When an employee leaves your service his uniform should be 
immediately cleaned and put in repair so that it will be available 

[106] 



BALABAN & KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



for use when this employee is replaced. Fabrics of all kinds deterio- 
rate more rapidly when stored in a soiled condition. Our practice is 
to have uniforms pressed every week and cleaned every two weeks 
in the case of woolen fabrics. In the case of light colored summer 
materials it is necessary to have them pressed twice a week and 
cleaned once each week. 

Your laundry bill is quite an item of expense and therefore 
merits your careful supervision, not only as to price but wear and 
tear on articles sent. You will be able to maintain a closer control 
over your collars, shirt fronts, and other articles which are sent to 
the laundry if you take the precaution to mark them with indelible 
ink in large letters. These marks will readily identify them as the 
property of your theatre and give greater assurance that they will 
be returned by the laundries and left in the theatre by your 
employees. 

Most generally the cashiers take care of the washing and press- 
ing of their summer blouses and in order to aid this you should 
furnish your cashiers with an electric iron in their dressing room. 

Your employees will present a better appearance, be more con- 
tented and enjoy that "well dressed feeling 1 ' if you furnish them 
with clean collars and shirt fronts daily. This applies to those who 
are on duty a full day. For those who are working part time, it 
may be sufficient for them to change their linen every two days. 

Flash-lights should be properly numbered and charged to the 
usher. If lost or misplaced he is required to pay for them. Flash- 
lights will be stamped with a distinctive number. When issued to 
an employee, he will be charged with a flashlight bearing a specific 
number. Upon leaving the service he is required to return that 
flash-light or a sum of money sufficient to cover its cost. This will 
prevent employees from appropriating them for their own use or 
mislaying them where they may be appropriated by others. Flash- 
light batteries can be recharged successfully at least once. This is 

[ 107 ] 



BALABAN 5? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



very much worth while and you will find that it materially reduces 
this expenditure over a period of time. 

Expendable Supplies 

Our expendable supplies for the maintenance of our theatres 
may be grouped under the following headings: 

1. Cleaning rags, mops, brooms, brushes, dust pans, mop pails, mop wring, 
ers, etc. 

2. Soap powders, liquid soap and detergents. 

3. Oils and greases. 

The first group represents materials of a more or less permanent 
nature and quite an investment in money. Therefore every effort 
should be exerted to account for these items as accurately and as 
carefully as it is reasonably possible. You will be assisted in doing 
this by deciding upon and using some distinctive mark, either 
stencilled or stamped upon each of these articles. 

In the items in the second group you can effect your greatest 
economy by careful and thoughtful portioning out of quantities of 
materials with reference to the work to be done. Care should be 
taken as to just what services certain cleaning materials are best 
suited for. By using the wrong material you may cause very rapid 
depreciation of your theatre. 

The items in the third classification are used primarily by the 
house superintendent. As the house superintendent is generally a 
licensed engineer you may expect him to know the proper uses for 
the various grades of oils and grease furnished you. With reference 
to oils, you can affect great economy through the judicious use of 
oil filters. 

All of the above mentioned equipment may be furnished you 
upon the submission of properly approved requisitions through the 
purchasing agent. With reference to expendable supplies and equip- 
ment, most of these items are furnished direct from our general 
storeroom. In cases of real emergency, you may purchase necessary 

[108] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



equipment or supplies from retail stores from your petty cash fund. 
Such purchases will, in most cases, reflect upon your ability as a 
manager and should be limited to small items less than $5.00. 

The necessary large consumption of electric bulbs at your 
theatre is sufficiently important to merit special attention. It is 
important that you be reasonably sure that all lamps ordered for 
your theatre are used up or consumed in the lighting of your theatre, 
either interior or exterior. Your responsibility will be much more 
easily met if you arrive at a minimum quantity of the various types 
to be kept on hand to meet all your normal and emergency demands. 
Economy in bulbs may be effected by the use of lamps that have be- 
come dim in service for illuminating interior passageways, air 
chambers, air ducts, boiler rooms, engine rooms, etc. 




[109 ] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



typical Weekly Schedule 

The following is a typical schedule of the routine duties of the 
manager. By changing this schedule to meet local needs, it may be 
adapted to any theatre. We strongly urge each manager to prepare 
a suitable schedule of this kind. 

Monday 

Bank — 11:30. 

New show to Kinobooth. 

Send purchase requisitions to general offices. 

Schedule and cue sheet to theatre scheduled to receive your show next. 
Before first performance check show with orchestra leader. 
Check show to schedule. 

During first performance time show with schedule. 
Read all trailers. 

Check ushers suggestions cards and take action on worthy suggestions. 
Check attraction sign. 
Check posters. 

Check B. 6? K. magazines with reference to program and publicity for 

your theatre. 
Meeting chief and assistant chief usher. 

Tuesday 
Bank — 2:15. 

Send topics of Weekly to manager of publicity indicating those being run. 

Send closing ticket numbers to comptroller. 

Send for next feature from exchange. 

Review next week's show. 

Get schedule from production department. 

Talk advertising with manager of publicity. 

Trailer list to manager of publicity. 

Trailer on opening time. 

Send stage overtime to production director for approval. 
Usher executive meetings. 

Wednesday 

Managers' meeting — 10:00. 
Bank — 2:15. 

Send purchase requisition to general offices. 

[mi 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Wednesday — Continued 

Send work requisitions to general offices. 
Ushers 1 meeting. 

Draw up schedule for next week. 
Short subject for next week. 
Cashiers 1 and doormen's meeting. 
Inspect back stage. 

Thursday 
Bank — 2:15. 

Send for new Weekly from exchange. 

Send topics of Weekly to manager of publicity. 

Obtain musical theme from conductor. 

Send payroll to comptroller. 

Send for next week's short subjects from exchange. 

Review employees 1 cards — send to executive office all obsolete cards. 

Send petty cash report to comptroller. 

Friday 

Bank — 2:15. 

Attend managers 1 meeting. 

Arrange Saturday and Sunday schedule. 

Saturday 
Bank — 1 1 :3c 

Receive payroll checks from general offices. 
Final check up on films for coming week. 

Sunday 

Final check up on stage show for coming week. 

Fire drill — first and third Sunday. 

Fire report — fourth Sunday to executive office. 

Carbon report — fourth Sunday from Kinobooth. 

Call for Weekly from exchange. 

Arrange transfer of films. 

Enter bonus grades. 

Inspect back stage. 

Film report. 

Cashiers 1 Meeting. 

[112] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Standard Forms and Their Uses 

Time and Payroll Forms 

Form No. 511 — Payroll Record and Check Record. This is the official pay 
roll form which is made out weekly by the Manager or someone assigned to do this 
work for the Manager. This form must never be forwarded to the Executive 
Offices without the signature of the Manager in the space provided at the top of 
each sheet. A carbon copy is made of this payroll and is retained as a record in the 
Manager's Office. 

Form No. 105 — Orchestra Time Record — is made out weekly in dupli' 
cate by the orchestra manager who forwards the original to the theatre manager. 
This form is to be used in making up the weekly payroll, and should be submitted 
to the general musical director for his approval before entries are made on the week- 
ly payroll. The theatre manager should check from time to time during the week 
to see that the entries are made currently as the week progresses. The theatre 
manager should check the time of entrance into the pit and of leaving the pit by 
the orchestra several times each week in order that he may assure himself that the 
form is being carefully and accurately filled out. 

Form No. 550 — Overtime Sheet for Stage or Kinobooth — is filled out by 
the chief operator in the booth or by the stage manager, and is submitted weekly 
to the manager to be used in making up his payroll. The manager of the theatre 
should check from time to time to see that entries are made on this form daily by 
the chief operator and the stage manager, and that no other records of overtime 
should be permitted after the payroll has been made up. This form should be filed 
in the manager's office for future reference. 

Form No. 553 — Personnel List — is filled out by the orchestra manager, 
kinobooth chief operator, and stage manager weekly and forwarded to the theatre 
manager for use in making out the general payroll. This personnel list includes the 
name of each employee engaged during the week denoted by the date at the top 
of this form. The theatre managers do not prepare this form for entertainers or 
office employees. 

Form No. 549 — Time and Payroll Record — is filled out daily by properly 
appointed employees for all employees other than musicians, kinobooth operators, 
and stage employees. It is made out in single copy and turned in to the manager 
of the theatre weekly to be used in compiling his weekly payroll. 



BALABAN Sf KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Employees' Time Card — Unnumbered — is filled out by the head of each 
respective department where female help is employed. This type of time record is 
required by the State Factory Laws for all female help. 

Employees Record Forms 

Form No. 525 — Employment Card — is made out by one of the manage' 
ment or the official in charge of employment, and is sent to the general offices. The 
purpose of this form is to maintain a live file of names and addresses and telephone 
numbers of all persons employed by the firm. 

Form No. 551 — Application for Employment and Progress Record — The 
face of this form is completely filled out by the applicant. The reverse side of this 
form, Record of Progress, is filled out by one of the management, and only those 
entries made which are of primary importance in indicating the progress of that 
particular individual while in our service. Such items as increase in pay, transfers 
from one position to another, and transfers from one theatre to another should be 
noted in the Progress Record. Should an applicant resign or in any other way leave the 
service, this form is completed by the manager who will make notation in the 
column for remarks, and then forward this card to the general offices to be filed. 

Form No. 112 — Equipment Record — is filled out and maintained by the 
custodian of uniforms and equipment. Final payment to any employee should be 
withheld until this card is received by the manager showing that each article of 
uniform and equipment has been properly turned in to the custodian. 

Cash and Cash Disbursement Forms 

Form No. 7 — Treasurer's Cash Fund Report — Originates daily with the 
Treasurer who fills it out from an actual audit of his funds. Both copies are then 
submitted to the Manager, who looks them over carefully; then if he is satisfied 
affixes his signature to both copies. The original is forwarded to the Comptroller 
and the duplicate held by the Manager in file as his record. The time that the 
Treasurer makes this report out is not important, but it must be made out every 
twenty 'four hours. 

Form No. 2 — Petty Cash Voucher — is filled out by the manager of the 
theatre, and signed by the person receiving any payment out of the petty cash 
fund. This form is attached to the Petty Cash Disbursement form and sent to the 
supervisor of theatre management not later than Friday of each week. 

Form No. 3 — Petty Cash Disbursements — is executed weekly by the 
theatre manager in duplicate. The original is sent to the supervisor of theatre 
management to reach him not later than Friday afternoon of each week. 

["4] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Form No. 532 — Refund Slip — may be made out by any one of the manage' 
ment or the treasurer according to instructions prescribed in a previous chapter 
of this Manual. Refund slips received by the cashier are to be attached to their 
daily box office report. 

Form No. 9 — Daily Summary of Box Office Reports — is made out by the 
theatre treasurer, and should be carefully checked by the manager before being 
sent to the general offices. Daily box office reports must be accompanied by this 
summary form completely and correctly filled out. 

Form No. 105 — Daily Bank Slip — made out completely by the cashier, 
except for that portion marked "silver issued" which is filled in by the treasurer. 

Requisition and Property Forms 

Form P2 — House Requisition — originates with the theatre manager, 
should be filled out completely and in detail concerning the particular commodity 
or material desired. This form is forwarded to a designated member of the gneral 
office force. It is made out in triplicate, the third copy retained by the manager, 
and the original and duplicate forwarded to the designated person in the general 
offices. 

Form No. PD3 — Receiving Report — is executed by any employee author' 
i^ed to receive material delivered to one of our theatres. This form is filled out in 
duplicate, the original copy being forwarded without delay through the theatre 
manager to the purchasing department. The duplicate copy is retained for filing 
by the authorised receiving clerk. 

Form No. 508 — Requisition for Maintenance and Repair Work — 
This form originates with the House Manager. It is made out in duplicate, the 
original being forwarded to the Superintendent of Maintenance. The duplicate is 
retained by the Manager as his record. 

Pass Forms 

Form No. 106 — Yellow Weekly Pass — can be made out only by the mana' 
ger of the theatre, and he should be careful not to permit any misuse of this 
privilege of signing passes. This pass is used for all persons or parties not employees 
of Balaban and Kat^. 

Form No. 523 — Employees Pass — can be signed only by the manager of the 
theatre, and is valid for the use of employees only. Passes to employees must 
be limited to one each week. 

1 115 1 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



Operating Forms 

Forms Nos. 315-316 — Superintendent's Daily Report — The combination 
of these two forms compose the complete daily report of the Superintendent. 
Form 315 is to be the carbon copy of the upper right hand section of Form 316. 
Both forms are signed by the Manager when submitted to him by the Superin- 
tendent. Form 316 remains on file in the Manager's office. Form 315 is forwarded 
to the Supervisor of Theatre Management. 

Form No. 104 — Program Time Schedule — is made out by one of the 
management, and is furnished to all cashiers, doormen, information desks, lost 
and found departments, and bulletin boards. Whenever there is a change in the 
routine running of a performance a copy of this time schedule should be sent to 
the supervisor of theatre management, and also a copy sent to the switchboard 
operator in the general office. 

Form No. 108 — Lost and Found Department — whenever possible this 
form should be filled out by the patron making the claim for lost articles, or by the 
patron who has turned in a found article. It is maintained in the current file until 
the article has been returned to its owner, or until it has been definitely established 
that the article cannot be found, or until the article covered by the form had been 
held two weeks when the card is completed, and it is then placed in a past file. 

Form No. 512 — Tailor Work Card — is to be filled out completely by the 
custodian of uniforms in each theatre before that particular article or uniform is 
sent to the tailor for either cleaning, pressing, or repairing. The tailor upon com' 
pletion of the work will note the amount and will detach the stub. The tailor's 
bill each month should be itemized and be accompanied by the stubs for the past 
month. These stubs should be checked against the part returned with the article 
of clothing. 

Manager's Monthly Fire and Safety Report — Unnumbered— is filled out 
by one of the management only after a very careful personal inspection of all parts 
and portions of the theatre, and should be sent to the supervisor of theatre man' 
agement on the first day of each month. Your recommendations for improving 
fire and safety measures about your theatre may be noted on the back of this form. 

Form No. 107 — Suggestion Card — is filled out by each member of the 
Service Department weekly and turned into the manager's office each Monday 
when going off duty. On the face of this card for remarks concerning the feature 
picture, comedy, etc., attention is called to the fact that these remarks should be 
as nearly as possible the exact comments of the patrons as overheard. The reverse 
side of this card is self-explanatory, and a dollar reward should be paid for all sug- 
gestions which are original and which are put into practice. 

1 116] 



BALABAN 6? KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



After careful examination by the theatre manager these cards are sent not 
later than Tuesday to the Supervisor of Theatre Management where they are 
examined, duplicate typewritten copies of each suggestion made and forwarded 
back to the theatre manager. On one of these copies the theatre manager notes the 
action taken with regard to each suggestion, and returns it to the Supervisor of 
Theatre Management. The other carbon copy is retained by the manager as his 
file copy. 

Fill and Spill Card — Unnumbered — is made out by the usher or ushers 
appointed to do so by the manager. This particular form, because of its importance 
in the smooth operation of your theatre requires constant checking by someone 
of sufficient experience to understand its object. At the end of the day these cards 
should be collected and kept on file in the manager's office. 

Free Admission Record 

A record should be kept at all doorways where there are doormen stationed 
and through which persons may gain access to the theatre proper of all persons 
passed into the theatre, the reason for their being passed in, the time when they 
were passed in, and the authority by whom they were passed in. This record 
should be forwarded weekly through the theatre manager to the supervisor of 
theatre management. 

This is an improvised form made up on the hectograph by each theatre 
manager. The form usually bears the legend, "Passed in at Stage Door," and 
contains the following columns: Date; Name of person passed; Name of persons 
whom he desires to see; the time; the authority of; and the name of doorman 
on duty. 




["7i 

BALABAN & KATZ THEAT RE MANAGEMENT 



k 

•a 

N 

I 



2 Z 

o o 



I 



z o 
- J 
-» y 



i 

r 

i 

i 



1 

s 



Personnel 


Employment 

Training 

Records of 
Employment 
& Progress 




Service 


Uniforms 

Floor Re- 
sponsibility 

Ushers 






Records 
Reports 
Secretary 




1 


Treasurer 

Ticket 
Control 

Receipts 

Reserve 
Fund 




•Is 


Mechanical 
Equipment 

Inventory 

Daily In- 
spection 

Work Orders 

Requisitions 

Cleaning 

Supplies 




.3 

1 


Trailers 

Newspaper 

Classified 
Advertising 

Newspaper 
Criticisms 

Magazine 
Advertising 

Newspaper 
and Maga- 
zine Stories 

Posters 

Bill Boards 

Street Car 
Cards 

Sidewalk 
and Lobby 
Displays 



-2 o o o ,o c § So 2 o 
to £ _j u: U o £ v a. 



a ~o 



2 

"5 o 

Mi £- 

<3 _i a 
U uj 



l! 



o 

+J •- 
to ^ 



3 O 

5 a 



THE FUNDAMENTAL PRINCIPLES OF 



INDEX 



A 



Accidents to Employees 32 

Accidents to Patrons 39 

Advances, Salary to Stage Production 

Personnel 2,8 

Advertising 85 

Bill Boards 87 

Co'Operation with Department 89 

Lobby Displays 88 

Magazine 86 

Newspaper 86 

Posters 87 

Sidewalk Displays 88 

Street Car Cards 87 

Air Circulation 8, 9, 10, 102 

Air Requirements, Legal 8 

Animals, Care of 2,9 

Application for Employment 14, 114 

Auditoriums 92, 93 

B 

Back Stage 7, 95, 96 

Bank Deposit 59 

Bank Deposit Slip 105 

Bill Boards 87 

Bond Applications 14 

Bonded Employees 61 

Box Office Receipts, Information Concern' 

ing 25 

Box Office Reports 59, 115 

Budgetary Control. . 57, 58 

C 

Carpets 93 

Cash Boxes, Delivery to Box Office 5 

Cash Fund Report 114 

Cash Reserve Fund 59 

Cashier, Duties of 24 

Type Desired 18 

Changes in Program 28, 67 

Checking Service 40 

Checks, Cashing of 60 

Children's Tickets, Policy Regarding 24 

Claims for Damages 41 

Coin Changer, Care of 99 

Comfort Chart 9 

Seasonable Conditions 10 

Complete Program 75 

Conduct of Employees ai 

Ushers 11 

Correspondence with Public 43 

Corridors 98 

Courtesy 16 

"Cueing" 71 



D 



Daily Report — Superintendent's 116 

Death of Patron in Theatre 33 

Definition of Pictures 78 

Deposit of Receipts 59 

Dictaphone, Use of 97 

Discharging of Employees 29 

Distortion of Picture 80 

Doormen, Duties of 23 

To be on duty 6 

Type desired 18 

Draperies 93 

Dressing Rooms 97 

Dry Bulb Reading 8 

Duties of Manager: 

Closing the House 10 

Daily Inspections 5, 6 

During Periods of Capacity Business 7 

Observe Initial Performance 75 

Opening of House 5 

Working Schedule 7 

E 

Electric Bulbs 109 

Emergencies 38 

Points to be Remembered 36 

Employees, Accidents to 32 

Bonding of 61 

Discharging of 29 

Equipment and Service Rooms 104 

From Labor Organizations 25 

Furnished by Central Organization 14 

Gifts from 32 

Hiring of 14 

Meetings 30 

Time Cards for Female 64 

Time to Report 5 

Working Schedules 6, 53 

Employment Cards 114 

Entertainment 68 

Equipment Record 114 

Expendable Supplies 108 

Exploitation 85 

Exterior Equipment 99 

Exterior Lighting 8 

Eye Strain 77 

F 

Feature Picture 68 

Female Employees Time Card 114 

Fill and Spill Cards 53, 117 

Films 68 

Patching of 79 

Permit to Run 104 



BALABAN 6r> KATZ THEATRE MANAGEMENT 



THE FUNDAMENTAL PRINCIPLES OF 



INDEX 



F 

Scratched or Damaged 70, 79 

Speed of Showing 80 

Fire and Safety Report 116 

Fire Curtain: 

Lowered for Night n 

Fire Drills 34, 33, 35 

Points to be Covered 36 

Fire Escapes 100 

Firemen 27 

Co-operating with 27 

Fire Ordinances 96 

Flash Lights 107 

Flicker of Picture 79 

Flowers for Artists and Performers 76 

Footmen, Duties of 23 

To Remain on Duty 11 

Type Desired 17 

Forms, Standard 113 

Foyers 98 

Free Admission Record 117 

Funds, Accountability for 39 

G 

Gifts from Employees 32 

Glare Spots on Screen 78 

H 

Hazards, During Decoration 93 

Health Department 63 

House Tank, Care of 101 

Humidity 8 

Icicles 100 

Illumination of Pictures 78 

Improvising, Music 72 

Inspection, by State and Municipal De- 

partments 64 

Of Carpets 93 

Of Draperies 93 

Of Emergency Doors 100 

Of Films 104 

Of Fire Escapes 100 

Of House Tank 10 1 

Of Programs 67 

Of Progress Records 29 

Of Roofs 101 

Of Seats 93 

J 

Janitor Service 26 

"Jumpy Pictures 1 " 81 

"Keystone" Effect on Screen 81 

K 

Kinobooth, Equipment 103 

Field Glasses in 83 

Operators 25 



L 

Laws, State Labor 63 

Letters, Concerning Lost and Found 

Articles 44, 49 

Lobbies " 98 

Drafts in 98 

Lobby Men, Types Desired 19 

Displays 88 

Lost and Found 40 

Form 116 

M 

Magazine Advertising 86 

Maids, Type Desired 20 

Manager, Essential Qualities of 13 

Typical Weekly Schedule of in 

Marquee, Care of 99 

Lights 11 

Mechanical Equipment 97 

Money, Transport of 59 

Motors, Care of 97 

Movement of Patrons into Theatre 53 

Movie Censors 55 

Movie Critics 56 

Music 70 

Improvising of 72 

Musical Instruments, Care of 94 

N 

Newspaper Advertising 86 

O 

Odor, from Animals 29 

Odor, of Smoke. 10 1 

Offices, Care of. 96 

Omissions, from Performance 70 

Operating Methods 39 

Ordinances 63 

Organization Builder 65 

Organ Lifts, Care of 95 

Orchestra Elevation 95 

Orchestra Pits, Care of 94, 95 

Orchestra Time Record 113 

Overtime, of Stage Crew 96 

Performance Running 67 

Overtime Sheet, Stage and Kinobooth 113 

P 

Passes, Employees 115 

Special 56 

Yellow Weekly 115 

Patrons Leaving Theatre for Short Period. . . 52 

Waiting in Lobby 6 

Payroll Record 113 

Personnel 13 

Personnel List 113 

Petty Cash 55 



BALABAN 6? KATZ THEATRE MANAGEMENT 

8886 191 



THE FUNDAMENTAL PRINCIPLES OF 



INDEX 



P 

Disbursements Form 114 

Reponsibility for 60 

Voucher 114 

Physical Equipment 91 

Physicians, in Case of Accident 39 

Pictures, Dark 81 

"Keystone" Effect 81 

Streaked 82 

Plenum Chambers, Cleaning of 97 

Policemen, When to be Admitted 26 

When to be Called 27 

Porters, Type Desired 20 

Posters 87 

Preparation of Performance 5 

Price Changes, Based on 53 

Programs and Shows 67 

Program, Interruption of 67 

Time Schedule 116 

Progress of Employees 29 

Projection 77 

Care of Screen 83 

Dark Picture 81 

Definition of Picture 78 

Direct or Reflected Light 81 

Distortion 80 

Eye Strain 77 

Flicker 79 

Glare Spots 78 

Illumination 78 

"Jumpy" 1 Pictures 81 

"Keystone" Effect 81 

Manager to Check 83 

Patching of Film 79 

Scratched or Damaged Film 79 

Size of Pictures 78 

Streaked Pictures 82 

Property, Inventory Record 91 

Transfer Record 91 

Publicity ." 85 

Advance 85 

Current 88 

Q 

Qualifications of Employees 15 

Qualifications of Manager 3 

R 

Receiving Report 115 

Refund, Procedure and Policies 51 

Slip 115 

Relative Humidity 9 

Refuse, Collection of 94 

Reserve Fund 59 

Responsibilities of Manager 65 

Roofs, Care of 10 1 



S 

Schedule for Pick Up of Films and Music. . . 55 

Scrap Books 86 

Screen, Care of 83 

Service Boys and Messengers, Type Desired . 20 

"Showmanship" 68 

Sickness of Patrons 40 

Sidewalks, Care of 100 

Displays 88 

Size of Pictures 78 

Speed of Pictures 80 

Spill Cards 54 

Stage Production Personnel 28 

Stage Productions 73, 74 

Street Car Cards 87 

Suggestion Card 116 

T 

Tailor Work Card 116 

Ticket Chopper, Location of 98 

Ticket Machines, Care of 99 

Ticket Takers, Duties of 23 

Type Desired 18 

Tickets, Acceptance After Price Changes. . . 24 

Refunds for 51 

Treasurer's Office 60 

Protection of 60 

Types of Employees 17 

Cashiers 18 

Doormen and Ticket Takers 18 

Footmen 17 

Lobby Men 19 

Maids 20 

Porters 20 

Service Boys and Messengers 20 

Sidewalk or Outside Doormen 18 

Ushers 19 

U 

Uniforms 105, 106 

Ushers, Duties in Case of Fire 35 

Duties of 22 

Type Desired 19 

V 

Ventilating Equipment 101, 103 

Ventilation 102 

Amount Required 8 

Composed of 8 

W 

Witnesses to Accidents 39 

Work Lights, for Cleaning 1 1 

Work Requisitions : 115 

Y 

Your Theatres with Relation to State and 
Municipal Authorities 63 



BALABAN & KATZ THEATRE MANAGEMENT 



